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border-width: 1px 1px 0; margin-bottom: 5px;" width="427"> </iframe> <div style="margin-bottom: 5px;"> <strong> <a href="http://www.slideshare.net/MatthewHartman/narrative-structure-9285210" target="_blank" title="Narrative structure">Narrative structure</a> </strong> from <strong><a href="http://www.slideshare.net/MatthewHartman" target="_blank">Matthew Hartman</a></strong> </div> &#0160; <iframe frameborder="0" height="356" marginheight="0" marginwidth="0" scrolling="no" src="http://www.slideshare.net/slideshow/embed_code/9285210" style="border: 1px solid #CCC; border-width: 1px 1px 0; margin-bottom: 5px;" width="427"> </iframe> <div style="margin-bottom: 5px;"> <strong> <a href="http://www.slideshare.net/MatthewHartman/narrative-structure-9285210" target="_blank" title="Narrative structure">Narrative structure</a> </strong> from <strong><a href="http://www.slideshare.net/MatthewHartman" target="_blank">Matthew Hartman</a></strong> </div> &#0160;tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017ee8ca1036970d The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-28T08:14:51Ztag:api.typepad.com,2009:6a016304de4811970d017ee8ca1033970dRoundhay Garden Scenehttp://activitystrea.ms/schema/1.0/article2013-02-28T08:14:51Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p><em><strong>Roundhay Garden Scene</strong></em>&#0160;is an 1888&#0160;<a href="http://en.wikipedia.org/wiki/Short_film" title="Short film">short film</a>&#0160;directed by French inventor&#0160;<a href="http://en.wikipedia.org/wiki/Louis_Le_Prince" title="Louis Le Prince">Louis Le Prince</a>. It was recorded at 12&#0160;<a href="http://en.wikipedia.org/wiki/Film_frame" title="Film frame">frames</a>&#0160;per<a href="http://en.wikipedia.org/wiki/Second" title="Second">second</a>&#0160;and runs for 2.11 seconds. It is the&#0160;<a href="http://en.wikipedia.org/wiki/History_of_Film" title="History of Film">oldest surviving film</a>&#0160;in existence, noted by the&#0160;<a href="http://en.wikipedia.org/wiki/Guinness_World_Records" title="Guinness World Records">Guinness Book of Records</a>. (http://en.wikipedia.org)</p> <p><iframe frameborder="0" height="315" src="http://www.youtube.com/embed/F1i40rnpOsA" width="420"></iframe>&#0160;</p> <p><em><strong>Roundhay Garden Scene</strong></em>&#0160;is an 1888&#0160;<a href="http://en.wikipedia.org/wiki/Short_film" title="Short film">short film</a>&#0160;directed by French inventor&#0160;<a href="http://en.wikipedia.org/wiki/Louis_Le_Prince" title="Louis Le Prince">Louis Le Prince</a>. It was recorded at 12&#0160;<a href="http://en.wikipedia.org/wiki/Film_frame" title="Film frame">frames</a>&#0160;per<a href="http://en.wikipedia.org/wiki/Second" title="Second">second</a>&#0160;and runs for 2.11 seconds. It is the&#0160;<a href="http://en.wikipedia.org/wiki/History_of_Film" title="History of Film">oldest surviving film</a>&#0160;in existence, noted by the&#0160;<a href="http://en.wikipedia.org/wiki/Guinness_World_Records" title="Guinness World Records">Guinness Book of Records</a>. (http://en.wikipedia.org)</p> <p><iframe frameborder="0" height="315" src="http://www.youtube.com/embed/F1i40rnpOsA" width="420"></iframe>&#0160;</p>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c37253217970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-28T03:09:48Ztag:api.typepad.com,2009:6a016304de4811970d017c37253213970bDocumentary vs Mockumentary by Josh Byrneshttp://activitystrea.ms/schema/1.0/article2013-02-28T03:09:48Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<iframe frameborder="0" height="400" src="http://prezi.com/embed/aukwhgkqppe-/?bgcolor=ffffff&amp;lock_to_path=0&amp;autoplay=no&amp;autohide_ctrls=0&amp;features=undefined&amp;disabled_features=undefined" width="550"></iframe>&#0160; <iframe frameborder="0" height="400" src="http://prezi.com/embed/aukwhgkqppe-/?bgcolor=ffffff&amp;lock_to_path=0&amp;autoplay=no&amp;autohide_ctrls=0&amp;features=undefined&amp;disabled_features=undefined" width="550"></iframe>&#0160;tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d41280193970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-19T11:14:52Ztag:api.typepad.com,2009:6a016304de4811970d017d41280191970cALFRED HITCHCOCK: AUTEUR?http://activitystrea.ms/schema/1.0/article2013-02-19T11:14:52Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<div id="tb_container"> </div> <div id="lyslider-adblock-wrapper"> <p>&#0160;</p> <p><strong>The following article is a must read for your Auteur essay, you can find the site <a href="http://gillonj.tripod.com/alfredhitchcock/" target="_self">here.</a></strong></p> <p>&#0160;</p> <p><strong>ALFRED HITCHCOCK: AUTEUR?</strong></p> <p>&#0160;<strong>&quot;There is no terror in the bang, only in the anticipation of it.&quot;</strong></p> <p><strong>(Alfred Hitchcock)</strong></p> <p>&#0160;</p> <p><strong>Auteur theory was articulated in the 1950s by French film critics, most notably by Francois Truffaut. The concept describes the mark of a film director in terms of: thematic or stylistic consistencies, personal aesthetic vision, recurring themes, established technique, a defined view of the world and a significant degree of control over production. The works of an auteur director are stamped by the personality and unique artistic vision of its creator, and are as recognisable and distinctive as the creators of any other work of art. In auteur films, it is the director who controls the artistic statement, takes credit for the film and is responsible for attracting the audience.</strong></p> <p>&#0160;</p> <p><strong>When auteur theory was being developed, Alfred Hitchcock was frequently acknowledged as the consummate exemplar, and his name evokes immediate expectations in terms of themes and techniques. As befits the master of mystery and suspense, his films play with the audience&#39;s nerves, sexually or tabooed areas assume central or implicit places in his work (the latent homosexuality of&#0160;Strangers on a Train,&#0160;the parody of an Oedipus complex in&#0160;Psycho&#0160;and the traumatic remembrance of repressed memories of&#0160;Marnie),&#0160;there is a persistent element of black comedy, and frequent eccentric characterisations. Hitchcock was influenced by the German Expressionists, and admired their ability &quot;to express ideas in purely visual terms&quot; (Spoto 68). It is this visual expression of thought and psychology that Hitchcock achieves throughout his films.</strong></p> <p>&#0160;</p> <p><strong>Hitchcock&#39;s films are marked by his mastery of cinematic technique which is exemplified in his use of camera viewpoints, elaborate editing and soundtrack to build suspense.Notorious&#0160;includes an incredible zoom-in from a high shot to an extreme close-up of a significant plot detail and suspense building inter-cutting of the final scene. In a scene inBlackmail,&#0160;Hitchcock uses a complex pattern of sound and dialogue based around the word knife to reflect feelings of guilt and in the&#0160;The Thirty-Nine Steps&#0160;there is a cut from a woman&#39;s scream to the similar sound of a train whistle. His personal stamp is typified by the use of a lightbulb to produce the effect of an&#0160;ominous, glowing glass of milk in&#0160;Suspicion.This attribution of symbolic&#0160;power to inanimate objects is another hallmark of Hitchcock:&#0160;a bread knife (Blackmail), a key (Notorious). He also places great&#0160;focus on the creation of set pieces where he is able to exercise his talent for detail and suspense.</strong></p> <p>&#0160;</p> <p><strong>Hitchcock&#39;s vision of the world is reflected in the themes that predominate in his films.&#0160;The specific psychology that is presented in the films, such as the fascination with wrongful accusation and imprisonment, is a significant part of the Hitchcock signature.&#0160;One of the basic themes is that of: the mistaken identity, the wrong man accused who must find the real perpetrator in order to prove his innocence (The Lodger, The Thirty-Nine Steps, North By Northwest, etc.). Hitchcock also found visual expression for his themes in recurrent motifs that express his vision of the world: &#0160;staircases (Strangers On A Train, Vertigo, Psycho), sinister houses (Psycho), chasms (Vertigo, North by Northwest) and National Landmarks (most obviously in&#0160;North by Northwest&#0160;which includes the United Nations&#39; Building and Mount Rushmore).</strong></p> <p>&#0160;</p> <p><strong>Notorious&#0160;includes prime examples of trademark Hitchcock themes: a woman complicitous in her forced transformation to a different person, later brought to its fruition in&#0160;Vertigo; the figure of the mother both adoring and deadly, who appears in various forms in&#0160;Strangers on a Train,&#0160;Psycho&#0160;(1960), and&#0160;Marnie&#0160;and&#0160;the MacGuffin, the narrative device Hitchcock once defined as the thing that motivates the actions of the characters but which is of minor interest to audiences. The MacGuffin in the case of&#0160;Notorious&#0160;being uranium ore hidden in wine bottles in Sebastian&#39;s basement.</strong></p> <p>&#0160;</p> <p><strong>Donald Spoto notes that the Hitchcock touch was evident even in his earliest films: &#0160;`in the structure and content of the screenplay . . .in the development of plot and theme and images; in the selection of cast and setting; in the style of lighting and placement and movement of the camera; in the moods created, sustained, and shifted; in the subtle manipulation of an audience&#39;s fears and desires; in the economy and wit of the narrative; in the pacing; and in the rhythms of the film&#39;s final cutting&quot;. Hitchcock was, therefore, able to transcend the artistic constraints of the Studio System in which most films are recognisable as the work of a particular studio than of an individual director and make highly personalised films that bear the stamp of his artistic personality.</strong></p> <p>&#0160;</p> <p><strong>Francois Truffaut referring to Hitchcock: notes that “he exercises such complete control over all the elements of his films and imprints his personal concepts at each step of the way, Hitchcock has a distinctive style of his own. He is undoubtedly one of the few film-makers on the horizon today whose screen signature can be identified as soon as the picture begins.” It was Truffaut&#39;s publication in 1967 of his interviews with Hitchcock that established Hitchcock as the `quintesential auteur&#39; (Spoto). However, this was shortly after the badly received Torn Curtain, and, as Spoto points out, Hitchcock was only too happy to accept Truffaut&#39;s `sincere and devoted homage&#39; which was also a `masterpiece of Hitchcockian self promotion&#39;.</strong></p> <p>&#0160;</p> <p><strong>Spoto also notes that Hitchcock in his interviews with Truffaut reduces the contribution of others to the production of his films to `little other than elves in the master carpenter&#39;s workshop&#39;. With the demise of the Studio System in the 1950s there was more freedom for a single personality to take control and shape the film into something consistent and relatively personal.&#0160;However, film by its very nature, is a collaborative medium subject to a host of outside elements and rarely the result of a single person&#39;s efforts and input. The director has to work with contracted actors, scriptwriters, camera operators, and a many other personnel. Deadlines and costs further discourage experimentation.</strong></p> <p>&#0160;</p> <p><strong>DeRosa&#39;s account of Hitchcock&#39;s collaboration with the scriptwriter John Michael Hayes indicates that Hitchcock&#39;s&#0160;artistic vision were not always his alone and were often radically reshaped and transformed by Hayes&#39; writing. The Hitchcock-Hayes collaborations--Rear Window, To Catch a Thief, The Trouble with Harry and The Man Who Knew Too Much- reflect a lighter and more sophisticated side to Hitchcock. Perhaps referring to the collaborative period,&#0160;Hitchcock said: &quot;People embrace the auteur theory, but it&#39;s difficult to know what someone means by it. Very often the director is no better than his script.&quot; However, Hitchcock did little to dispute his own cinematic mastery and when interviewed by Truffaut, he downplayed the role of Hayes labelling him &quot;a radio writer who wrote the dialogue.&quot;</strong></p> <p>&#0160;</p> <p><strong>Throughout his career Hitchcock depended on good stories, great performances by actors and the creative contribution of many others.&#0160;Hitchcock said the success of&#0160;Psycho&#0160;was 50% due to Bernard Herrmann, and it was Herrmann who insisted that the shower scene have music, and Hitchcock finally agreed against his own better judgment.&#0160;However, there is `a consistent vision, with insistent demons, observable&#39; (Spoto) in his films. Hitchcock was a consummate craftsman who planned each shot in advance, involved himself with every aspect of the&#0160;physical production, and guided the development of his material from start to finish. Before any film he planned every detail thoroughly in advance with the help of storyboards and pictorial outlines. This in itself affected the way his films looked and as he had planned every shot so carefully, he did not need to film any superfluous material. Thus his producers were not given the opportunity to change or to recut the film. His control was `justified by a profound inner conviction that he did know better than others what would work in the formulation and expression of an idea&#39; (Spoto).</strong></p> <p>&#0160;</p> <p><strong>In the end, perhaps what distinguishes Hitchcock as the ultimate auteur, or as an audacious self publicist, is the boldness of his numerous cameo appearances, which promoted his own image and can be seen as serving the same function as the artist&#39;s signature on a painting.</strong></p> <p><br /> <br /> </p> <p><strong>REFERENCES</strong></p> <p>&#0160;</p> <p><strong>Francois Truffaut: Hitchcock (1967)</strong></p> <p><strong>Donald Spotto: The Life of Alfred Hitchcock, Collins (1983)</strong></p> <p><strong>Steven DeRosa: &#0160;Writing With Hitchcock: The Collaboration of Alfred Hitchcock and John Michael Hayes Faber &amp; Faber; (July 2001).</strong></p> <p><strong>John Russell Taylor: Hitch, The Authorised Biography, Abacus (1978)</strong></p> <p>&#0160;</p> </div> <div id="tb_container"> </div> <div id="lyslider-adblock-wrapper"> <p>&#0160;</p> <p><strong>The following article is a must read for your Auteur essay, you can find the site <a href="http://gillonj.tripod.com/alfredhitchcock/" target="_self">here.</a></strong></p> <p>&#0160;</p> <p><strong>ALFRED HITCHCOCK: AUTEUR?</strong></p> <p>&#0160;<strong>&quot;There is no terror in the bang, only in the anticipation of it.&quot;</strong></p> <p><strong>(Alfred Hitchcock)</strong></p> <p>&#0160;</p> <p><strong>Auteur theory was articulated in the 1950s by French film critics, most notably by Francois Truffaut. The concept describes the mark of a film director in terms of: thematic or stylistic consistencies, personal aesthetic vision, recurring themes, established technique, a defined view of the world and a significant degree of control over production. The works of an auteur director are stamped by the personality and unique artistic vision of its creator, and are as recognisable and distinctive as the creators of any other work of art. In auteur films, it is the director who controls the artistic statement, takes credit for the film and is responsible for attracting the audience.</strong></p> <p>&#0160;</p> <p><strong>When auteur theory was being developed, Alfred Hitchcock was frequently acknowledged as the consummate exemplar, and his name evokes immediate expectations in terms of themes and techniques. As befits the master of mystery and suspense, his films play with the audience&#39;s nerves, sexually or tabooed areas assume central or implicit places in his work (the latent homosexuality of&#0160;Strangers on a Train,&#0160;the parody of an Oedipus complex in&#0160;Psycho&#0160;and the traumatic remembrance of repressed memories of&#0160;Marnie),&#0160;there is a persistent element of black comedy, and frequent eccentric characterisations. Hitchcock was influenced by the German Expressionists, and admired their ability &quot;to express ideas in purely visual terms&quot; (Spoto 68). It is this visual expression of thought and psychology that Hitchcock achieves throughout his films.</strong></p> <p>&#0160;</p> <p><strong>Hitchcock&#39;s films are marked by his mastery of cinematic technique which is exemplified in his use of camera viewpoints, elaborate editing and soundtrack to build suspense.Notorious&#0160;includes an incredible zoom-in from a high shot to an extreme close-up of a significant plot detail and suspense building inter-cutting of the final scene. In a scene inBlackmail,&#0160;Hitchcock uses a complex pattern of sound and dialogue based around the word knife to reflect feelings of guilt and in the&#0160;The Thirty-Nine Steps&#0160;there is a cut from a woman&#39;s scream to the similar sound of a train whistle. His personal stamp is typified by the use of a lightbulb to produce the effect of an&#0160;ominous, glowing glass of milk in&#0160;Suspicion.This attribution of symbolic&#0160;power to inanimate objects is another hallmark of Hitchcock:&#0160;a bread knife (Blackmail), a key (Notorious). He also places great&#0160;focus on the creation of set pieces where he is able to exercise his talent for detail and suspense.</strong></p> <p>&#0160;</p> <p><strong>Hitchcock&#39;s vision of the world is reflected in the themes that predominate in his films.&#0160;The specific psychology that is presented in the films, such as the fascination with wrongful accusation and imprisonment, is a significant part of the Hitchcock signature.&#0160;One of the basic themes is that of: the mistaken identity, the wrong man accused who must find the real perpetrator in order to prove his innocence (The Lodger, The Thirty-Nine Steps, North By Northwest, etc.). Hitchcock also found visual expression for his themes in recurrent motifs that express his vision of the world: &#0160;staircases (Strangers On A Train, Vertigo, Psycho), sinister houses (Psycho), chasms (Vertigo, North by Northwest) and National Landmarks (most obviously in&#0160;North by Northwest&#0160;which includes the United Nations&#39; Building and Mount Rushmore).</strong></p> <p>&#0160;</p> <p><strong>Notorious&#0160;includes prime examples of trademark Hitchcock themes: a woman complicitous in her forced transformation to a different person, later brought to its fruition in&#0160;Vertigo; the figure of the mother both adoring and deadly, who appears in various forms in&#0160;Strangers on a Train,&#0160;Psycho&#0160;(1960), and&#0160;Marnie&#0160;and&#0160;the MacGuffin, the narrative device Hitchcock once defined as the thing that motivates the actions of the characters but which is of minor interest to audiences. The MacGuffin in the case of&#0160;Notorious&#0160;being uranium ore hidden in wine bottles in Sebastian&#39;s basement.</strong></p> <p>&#0160;</p> <p><strong>Donald Spoto notes that the Hitchcock touch was evident even in his earliest films: &#0160;`in the structure and content of the screenplay . . .in the development of plot and theme and images; in the selection of cast and setting; in the style of lighting and placement and movement of the camera; in the moods created, sustained, and shifted; in the subtle manipulation of an audience&#39;s fears and desires; in the economy and wit of the narrative; in the pacing; and in the rhythms of the film&#39;s final cutting&quot;. Hitchcock was, therefore, able to transcend the artistic constraints of the Studio System in which most films are recognisable as the work of a particular studio than of an individual director and make highly personalised films that bear the stamp of his artistic personality.</strong></p> <p>&#0160;</p> <p><strong>Francois Truffaut referring to Hitchcock: notes that “he exercises such complete control over all the elements of his films and imprints his personal concepts at each step of the way, Hitchcock has a distinctive style of his own. He is undoubtedly one of the few film-makers on the horizon today whose screen signature can be identified as soon as the picture begins.” It was Truffaut&#39;s publication in 1967 of his interviews with Hitchcock that established Hitchcock as the `quintesential auteur&#39; (Spoto). However, this was shortly after the badly received Torn Curtain, and, as Spoto points out, Hitchcock was only too happy to accept Truffaut&#39;s `sincere and devoted homage&#39; which was also a `masterpiece of Hitchcockian self promotion&#39;.</strong></p> <p>&#0160;</p> <p><strong>Spoto also notes that Hitchcock in his interviews with Truffaut reduces the contribution of others to the production of his films to `little other than elves in the master carpenter&#39;s workshop&#39;. With the demise of the Studio System in the 1950s there was more freedom for a single personality to take control and shape the film into something consistent and relatively personal.&#0160;However, film by its very nature, is a collaborative medium subject to a host of outside elements and rarely the result of a single person&#39;s efforts and input. The director has to work with contracted actors, scriptwriters, camera operators, and a many other personnel. Deadlines and costs further discourage experimentation.</strong></p> <p>&#0160;</p> <p><strong>DeRosa&#39;s account of Hitchcock&#39;s collaboration with the scriptwriter John Michael Hayes indicates that Hitchcock&#39;s&#0160;artistic vision were not always his alone and were often radically reshaped and transformed by Hayes&#39; writing. The Hitchcock-Hayes collaborations--Rear Window, To Catch a Thief, The Trouble with Harry and The Man Who Knew Too Much- reflect a lighter and more sophisticated side to Hitchcock. Perhaps referring to the collaborative period,&#0160;Hitchcock said: &quot;People embrace the auteur theory, but it&#39;s difficult to know what someone means by it. Very often the director is no better than his script.&quot; However, Hitchcock did little to dispute his own cinematic mastery and when interviewed by Truffaut, he downplayed the role of Hayes labelling him &quot;a radio writer who wrote the dialogue.&quot;</strong></p> <p>&#0160;</p> <p><strong>Throughout his career Hitchcock depended on good stories, great performances by actors and the creative contribution of many others.&#0160;Hitchcock said the success of&#0160;Psycho&#0160;was 50% due to Bernard Herrmann, and it was Herrmann who insisted that the shower scene have music, and Hitchcock finally agreed against his own better judgment.&#0160;However, there is `a consistent vision, with insistent demons, observable&#39; (Spoto) in his films. Hitchcock was a consummate craftsman who planned each shot in advance, involved himself with every aspect of the&#0160;physical production, and guided the development of his material from start to finish. Before any film he planned every detail thoroughly in advance with the help of storyboards and pictorial outlines. This in itself affected the way his films looked and as he had planned every shot so carefully, he did not need to film any superfluous material. Thus his producers were not given the opportunity to change or to recut the film. His control was `justified by a profound inner conviction that he did know better than others what would work in the formulation and expression of an idea&#39; (Spoto).</strong></p> <p>&#0160;</p> <p><strong>In the end, perhaps what distinguishes Hitchcock as the ultimate auteur, or as an audacious self publicist, is the boldness of his numerous cameo appearances, which promoted his own image and can be seen as serving the same function as the artist&#39;s signature on a painting.</strong></p> <p><br /> <br /> </p> <p><strong>REFERENCES</strong></p> <p>&#0160;</p> <p><strong>Francois Truffaut: Hitchcock (1967)</strong></p> <p><strong>Donald Spotto: The Life of Alfred Hitchcock, Collins (1983)</strong></p> <p><strong>Steven DeRosa: &#0160;Writing With Hitchcock: The Collaboration of Alfred Hitchcock and John Michael Hayes Faber &amp; Faber; (July 2001).</strong></p> <p><strong>John Russell Taylor: Hitch, The Authorised Biography, Abacus (1978)</strong></p> <p>&#0160;</p> </div>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d4127fa3d970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-19T11:05:46Ztag:api.typepad.com,2009:6a016304de4811970d017d4127fa3b970cHitchcock’s place in film theory: a significant auteur or director of insignificant pictures?http://activitystrea.ms/schema/1.0/article2013-02-19T11:05:46Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p><a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html" target="_self">Interesting article on Hitchcock as an Auteur</a></p> <p>&#0160;</p> <p><strong>Hitchcock’s place in film theory: a significant&#0160;<em>auteur&#0160;</em>or director of insignificant pictures?</strong></p> <p>Geoff Fordham, The Open University</p> <p><img align="left" alt="hitchcock" height="280" hspace="12" src="http://www.crimeculture.com/Images/05hitchcock4.jpg" vspace="4" width="262" />Since not all critics subscribe to the validity of the&#0160;<em>auteur</em>theory, there is no consensus that Hitchcock can usefully be considered as such; nor that he is necessarily ‘significant’, if the&#0160;<em>auteur&#0160;</em>can be said to exist at all.&#0160; Grierson dismissed Hitchcock as ‘…no more than the world’s best director of unimportant pictures.’<a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html#_ftn1" id="_ftnref1" name="_ftnref1">1</a>&#0160; Schatz argues that his greatest movies were the work of a&#0160;<em>team&#0160;</em>which Hitchcock had taken with him from studio to studio, and that after&#0160;<em>The Birds</em>(Hitchcock, 1963) one of the reasons for Hitchcock’s ‘…decline was the dispersion of his movie production team.’<a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html#_ftn2" id="_ftnref2" name="_ftnref2">2</a>&#0160; Caughie only grudgingly accords Hitchcock&#0160;<em>auteur&#0160;</em>status: ‘…it&#0160;<em>may</em>&#0160;be possible to assign a relatively homogeneous function to the figure of the author if one works with a list which includes Ford, Hawks, Ray (with question marks around Hitchcock and Sirk.)’<a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html#_ftn3" id="_ftnref3" name="_ftnref3">3</a></p> <br /> <p><a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html" target="_self">Interesting article on Hitchcock as an Auteur</a></p> <p>&#0160;</p> <p><strong>Hitchcock’s place in film theory: a significant&#0160;<em>auteur&#0160;</em>or director of insignificant pictures?</strong></p> <p>Geoff Fordham, The Open University</p> <p><img align="left" alt="hitchcock" height="280" hspace="12" src="http://www.crimeculture.com/Images/05hitchcock4.jpg" vspace="4" width="262" />Since not all critics subscribe to the validity of the&#0160;<em>auteur</em>theory, there is no consensus that Hitchcock can usefully be considered as such; nor that he is necessarily ‘significant’, if the&#0160;<em>auteur&#0160;</em>can be said to exist at all.&#0160; Grierson dismissed Hitchcock as ‘…no more than the world’s best director of unimportant pictures.’<a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html#_ftn1" id="_ftnref1" name="_ftnref1">1</a>&#0160; Schatz argues that his greatest movies were the work of a&#0160;<em>team&#0160;</em>which Hitchcock had taken with him from studio to studio, and that after&#0160;<em>The Birds</em>(Hitchcock, 1963) one of the reasons for Hitchcock’s ‘…decline was the dispersion of his movie production team.’<a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html#_ftn2" id="_ftnref2" name="_ftnref2">2</a>&#0160; Caughie only grudgingly accords Hitchcock&#0160;<em>auteur&#0160;</em>status: ‘…it&#0160;<em>may</em>&#0160;be possible to assign a relatively homogeneous function to the figure of the author if one works with a list which includes Ford, Hawks, Ray (with question marks around Hitchcock and Sirk.)’<a href="http://www.crimeculture.com/Contents/Articles-Spring05/Hitchcock.html#_ftn3" id="_ftnref3" name="_ftnref3">3</a></p> <br />tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36e860fc970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-16T08:26:25Ztag:api.typepad.com,2009:6a016304de4811970d017c36e860f9970bRene Magrittehttp://activitystrea.ms/schema/1.0/article2013-02-16T08:26:25Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<object id="flashObj" width="300" height="225" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,47,0"><param name="movie" value="http://c.brightcove.com/services/viewer/federated_f9?isVid=1&isUI=1" /><param name="bgcolor" value="#FFFFFF" /><param name="flashVars" value="videoId=1387105114001&linkBaseURL=http%3A%2F%2Fwww.sfmoma.org%2Fexplore%2Fmultimedia%2Fvideos%2F246&playerID=1277164621001&playerKey=AQ~~,AAAAsKKH5Lk~,NLi44cDINh_bjjEkXE6_A0uM4mBjvuYA&domain=embed&dynamicStreaming=true" /><param name="base" value="http://admin.brightcove.com" /><param name="seamlesstabbing" value="false" /><param name="allowFullScreen" value="true" /><param name="swLiveConnect" value="true" /><param name="allowScriptAccess" value="always" /><embed src="http://c.brightcove.com/services/viewer/federated_f9?isVid=1&isUI=1" bgcolor="#FFFFFF" flashVars="videoId=1387105114001&linkBaseURL=http%3A%2F%2Fwww.sfmoma.org%2Fexplore%2Fmultimedia%2Fvideos%2F246&playerID=1277164621001&playerKey=AQ~~,AAAAsKKH5Lk~,NLi44cDINh_bjjEkXE6_A0uM4mBjvuYA&domain=embed&dynamicStreaming=true" base="http://admin.brightcove.com" name="flashObj" width="300" height="225" seamlesstabbing="false" type="application/x-shockwave-flash" allowFullScreen="true" allowScriptAccess="always" swLiveConnect="true" pluginspage="http://www.macromedia.com/shockwave/download/index.cgi?P1_Prod_Version=ShockwaveFlash"></embed></object><p>Rene Magritte considers language and perception</p> <object id="flashObj" width="300" height="225" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,47,0"><param name="movie" value="http://c.brightcove.com/services/viewer/federated_f9?isVid=1&isUI=1" /><param name="bgcolor" value="#FFFFFF" /><param name="flashVars" value="videoId=1387105114001&linkBaseURL=http%3A%2F%2Fwww.sfmoma.org%2Fexplore%2Fmultimedia%2Fvideos%2F246&playerID=1277164621001&playerKey=AQ~~,AAAAsKKH5Lk~,NLi44cDINh_bjjEkXE6_A0uM4mBjvuYA&domain=embed&dynamicStreaming=true" /><param name="base" value="http://admin.brightcove.com" /><param name="seamlesstabbing" value="false" /><param name="allowFullScreen" value="true" /><param name="swLiveConnect" value="true" /><param name="allowScriptAccess" value="always" /><embed src="http://c.brightcove.com/services/viewer/federated_f9?isVid=1&isUI=1" bgcolor="#FFFFFF" flashVars="videoId=1387105114001&linkBaseURL=http%3A%2F%2Fwww.sfmoma.org%2Fexplore%2Fmultimedia%2Fvideos%2F246&playerID=1277164621001&playerKey=AQ~~,AAAAsKKH5Lk~,NLi44cDINh_bjjEkXE6_A0uM4mBjvuYA&domain=embed&dynamicStreaming=true" base="http://admin.brightcove.com" name="flashObj" width="300" height="225" seamlesstabbing="false" type="application/x-shockwave-flash" allowFullScreen="true" allowScriptAccess="always" swLiveConnect="true" pluginspage="http://www.macromedia.com/shockwave/download/index.cgi?P1_Prod_Version=ShockwaveFlash"></embed></object><p>Rene Magritte considers language and perception</p>tag:api.typepad.com,2009:6a016304de4811970d016304de7656970dNaomi Pelletier's bloghttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d4117bbb7970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-16T08:25:09Ztag:api.typepad.com,2009:6a016304de4811970d017d4117bbb0970cSFMOMA | Explore Modern Art | Multimedia | Video | Rene Magritte considers language and perceptionhttp://activitystrea.ms/schema/1.0/article2013-02-16T08:25:07Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier <p>http://www.sfmoma.org/explore/multimedia/videos/246?autoplay=true</p> <p>http://www.sfmoma.org/explore/multimedia/videos/246?autoplay=true</p>tag:api.typepad.com,2009:6a016304de4811970d017d40eb0df0970cartcoursehttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d411710ce970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-16T05:18:11Ztag:api.typepad.com,2009:6a016304de4811970d017d411710c9970cSurrealism (1)http://activitystrea.ms/schema/1.0/article2013-02-16T05:18:11Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p><a href="http://www.artsconnected.org/collection/108219/surrealism?print=true#" target="_self">The following artworks are examples of Surrealism, which is a movement concerned with creating contrast by juxtaposing objects to create interest.&#0160; The main idea was an attempt to create a false reality.</a></p> <p>An interesting collection of surrealist examples.</p> <p><a href="http://www.artsconnected.org/collection/108219/surrealism?print=true#" target="_self">The following artworks are examples of Surrealism, which is a movement concerned with creating contrast by juxtaposing objects to create interest.&#0160; The main idea was an attempt to create a false reality.</a></p> <p>An interesting collection of surrealist examples.</p>tag:api.typepad.com,2009:6a016304de4811970d017d40eb0df0970cartcoursehttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017ee88a7751970d The Time Travellers Purse is now following Alina http://activitystrea.ms/schema/1.0/follow2013-02-16T03:30:20Ztag:api.typepad.com,2009:6p00d8341ce39f53efAlinahttp://activitystrea.ms/schema/1.0/persontag:api.typepad.com,2009:6e016304de4811970d017d4111dd11970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-15T03:31:33Ztag:api.typepad.com,2009:6a016304de4811970d017d4111dd0f970c"Resistance" by Blake Borcich, Xavier College, VIChttp://activitystrea.ms/schema/1.0/article2013-02-15T03:31:33Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<iframe frameborder="0" height="300" src="http://player.vimeo.com/video/54833458?title=0&amp;byline=0&amp;portrait=0" width="400"></iframe>&#0160; <iframe frameborder="0" height="300" src="http://player.vimeo.com/video/54833458?title=0&amp;byline=0&amp;portrait=0" width="400"></iframe>&#0160;tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d4109d3b6970c The Time Travellers Purse posted something http://activitystrea.ms/schema/1.0/post2013-02-13T22:05:37Ztag:api.typepad.com,2009:6a0168eb4412d8970c017d4109d3b5970chttp://activitystrea.ms/schema/1.0/comment2013-02-13T22:05:37Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletierOut of the mouths of babes - “Sometimes it’s okay if you don’t colour in the lines.” tag:api.typepad.com,2009:6a0168eb4412d8970c0163054e4400970dThe Blue Eyed Narratorhttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36cf679c970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-12T10:00:58Ztag:api.typepad.com,2009:6a016304de4811970d017c36cf6795970bSurrealism interactive gamehttp://activitystrea.ms/schema/1.0/article2013-02-12T10:00:58Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p>Great game based on the surrealist movement.</p> <p><a href="http://interactive.qag.qld.gov.au/surrealistchronicle/" target="_self">http://interactive.qag.qld.gov.au/surrealistchronicle/</a></p> <p>Great game based on the surrealist movement.</p> <p><a href="http://interactive.qag.qld.gov.au/surrealistchronicle/" target="_self">http://interactive.qag.qld.gov.au/surrealistchronicle/</a></p>tag:api.typepad.com,2009:6a016304de4811970d017d40eb0df0970cartcoursehttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36cbada8970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-12T05:32:03Ztag:api.typepad.com,2009:6a016304de4811970d017c36cbada5970bNarrative Structurehttp://activitystrea.ms/schema/1.0/article2013-02-12T05:32:03Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;"><a href="http://www.adamranson.plus.com/narrativestructure.html" target="_self"><img alt="" height="75" src="http://www.adamranson.plus.com/FILTON-2.gif" width="640" /></a></span></p> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">Narrative Structure</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Narrative theory mostly derives from either &#39;structuralst&#39; semiotic or linguistic theory or from &#39;Classical&#39; or &#39;Aristotlean&#39; literary theory. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">First the Structuralists:</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Barthes</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Barthes argues in S/Z that every narrative is interwoven with multiple codes. Although we impose temporal and generic structures onto the polysemy of codes (and traditional, &quot;readerly&quot; texts actively invite us to impose such structures), any text is, in fact, marked by the multiple meanings suggested by the five codes.All these codes operate within the &#39;&#39;diegesis&#39; or &#39;STORY WORLD&#39; The five codes are as follows:</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><strong>The hermeneutic code or ENIGMA CODE</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Refers to any element in a story that is not explained and, therefore, exists as an enigma for the reader, raising questions that demand explication. Most stories hold back details in order to increase the effect of the final revelation of all diegetic truths. We tend not to be satisfied by a narrative unless all &quot;loose ends&quot; are tied; however, narratives often frustrate the early revelation of truths, offering the reader what Barthes terms &quot;snares&quot; (deliberate evasions of the truth), &quot;equivocations&quot; (mixtures of truth and snare), &quot;partial answers,&quot; &quot;suspended answers,&quot; and &quot;jammings&quot; (acknowledgments of insolubility). The best example may well be the genre of the detective story. The entire narrative of such a story operates primarily by the hermeneutic code. We witness a murder and the rest of the narrative is devoted to determining the questions that are raised by the initial scene of violence. The detective spends the story reading the clues that, only at the end, reconstructs the story of the murder. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /><strong><span style="font-size: small;">The proairetic code or ACTION CODE</span></strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Refers to the other major structuring principle that builds interest or suspense on the part of a reader or viewer. The proairetic code applies to any action that implies a further narrative action. For example, a gunslinger draws his gun on an adversary and we wonder what the resolution of this action will be. We wait to see if he kills his opponent or is wounded himself. Suspense is thus created by action rather than by a reader&#39;s or a viewer&#39;s wish to have mysteries explained.These first two codes tend to be aligned with temporal order and thus require, for full effect, that you read a book or view a film temporally from beginning to end. A traditional, &quot;readerly&quot; text tends to be especially &quot;dependent on [these] two sequential codes.&quot;<br /></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><strong>The symbolic code </strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The symbolic code is as a &quot;deep&quot; structural principle that organizes semantic meanings, usually by way of antitheses or by way of mediations between antithetical terms. Levi Strauss&#39;s BINARY OPPOSITION is a good example of this.<br /></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><strong>The cultural code </strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Any element in a narrative that refers &quot;to a science or a body of knowledge&quot;. In other words, the cultural codes tend to point to our shared knowledge about the way the world works,</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The codes point to the &quot;multivalence of the text&quot; and to &quot;its partial reversibility , allowing a reader to see a work not just as a single narrative line but as a braiding of meanings: &quot;The grouping of codes, as they enter into the work, into the movement of the reading, constitute a braid (text, fabric, braid: the same thing); each thread, each code, is a voice; these braided—or braiding—voices form the writing&quot;.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><a href="http://www.sla.purdue.edu/academic/engl/theory/narratology/modules/barthescodesmainframe.html">http://www.sla.purdue.edu/academic/engl/theory/narratology/modules/barthescodesmainframe.html</a></span></p> <p>&#0160;</p> <p><br /><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Levi-Strauss</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br />For Levi-Strauss in particular, such universal human truths--what all humans share by virtue of being human--exists at the level of structure. All signifying systems, all systems of cultural organization, share the same fundamental structures, regardless of their particular content. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Most important to us right now is Levi-Strauss&#39; insistence that the relations among units within the structure occur in binary pairs, which are either similar to each other or different from each other; this corresponds to Saussure&#39;s idea of paradigms, where one thing can be exchanged for something similar, and syntagms, where one thing is exchanged for something different. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">This also corresponds to the idea of metaphor and metonomy: metaphor is establishing a relationship of similarity between two things (A is like B, or A is B), while metonomy is substituting one thing for something close to it, related to it, but not it (saying &quot;crown&quot; instead of &quot;king,&quot; e.g.). The main point here is that relations between units of a system can only be analyzed in pairs: you know A is A because it&#39;s not B, and A is not Q, and A is not %, but you can only examine what A is in a binary pair: A:B, A:Q, A:%. In other words, what&#39;s important to Levi-Strauss is not the identity of any individual unit--he doesn&#39;t care what &quot;A&quot; is--but the relation between any two units compared in a binary pair. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In his book The Raw and the Cooked, Levi-Strauss goes further to discuss how binary pairs, particularly binary opposites, form the basic structure of all human cultures, all human ways of thought, and all human signifying systems. If there is a common &quot;human nature&quot; or &quot;human condition,&quot; from this perspective, it&#39;s that everyone everywhere thinks--and structures their worlds--in terms of binary pairs of opposites, like &quot;raw and cooked.&quot; Even more importantly, in every binary pair, one term is favored and the other disfavored: cooked is better than raw, good is better than evil, light is better than dark, etc. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br />Basically, Levi-Strauss&#39; method is this. Take a myth. Reduce it to its smallest component parts--its &quot;mythemes.&quot; (Each mytheme is usually one event or position in the story, the narrative, of the myth). Then lay these mythemes out so that they can be read both diachronically and synchronically. The story, or narrative, of the myth exists on the diachronic (left-to-right) axis, in non-reversible time; the structure of the myth exists on the synchronic (up-and-down) axis, in reversible time.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Levi-Strauss would then look at the vertical columns of variants, and try to find some logic that connects all of the variations. In each case, there&#39;s something incomplete, some part that&#39;s missing that has to be supplied when/as the hero overcomes the obstacle. The contradiction between &quot;incomplete&quot; and &quot;complete,&quot; according to Levi-Strauss, is the cultural dilemma each version of our myth is trying to solve. <br /></span></p> <p><a href="http://www.adamranson.plus.com/%0Dhttp://www.colorado.edu/English/engl2010mk/levistrauss.2001.htm%0Dhttp://www.colorado.edu/English/engl2010mk/levistrauss.2001.htm">http://www.colorado.edu/English/engl2010mk/levistrauss.2001.htm</a></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Propp</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In a highly influential book, The Morphology of the Folktale, Vladimir Propp interpreted a hundred fairy tales in terms of around 30 &#39;functions&#39;. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">&#39;Function is understood as an act of character defined from the point of view of its significance for the course of the action&#39;. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Such functions are basic units of action. The folktales analysed by Propp were all based on the same basic formula: </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The basic tale begins with either injury to a victim, or the lack of some important object. Thus, at the very beginning, the end result is given: it will consist in the retribution for the injury or the acquisition of the thing lacked. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The hero, if he is not himself personally involved, is sent for, at which two key events take place. He meets a donor (a toad, a hag, a bearded old man, etc.), who after testing him for the appropriate reaction (for some courtesy, for instance) supplies him with a magical agent (ring, horse, cloak, lion) which enables him to pass victoriously through his ordeal. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Then of course, he meets the villain, engaging him in the decisive combat. Yet, paradoxically enough, this episode, which would seem to be the central one, is not irreplaceable. There is an alternative track, in which the hero finds himself before a series of tasks or labours which, with the help of his agent, he is ultimately able to solve properly... The latter part of the tale is little more than a series of retarding devices: the pursuit of the hero on his way home, the possible intrusion of a false hero, the unmasking of the latter, with the ultimate transfiguration, marriage and/or coronation of the hero himself. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Structuralists avoid defining human agents in terms of &#39;psychological essences&#39;, and participants are defined by analysts not in terms of &#39;what they are&#39; as &#39;characters&#39; but in terms of &#39;what they do&#39;. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Propp listed seven roles: </strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the villain</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the donor</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the helper</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the sought-for-person (and her father)</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the dispatcher</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the hero </strong></span></li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the false hero </strong></span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif;">Propp schematized the various &#39;functions&#39; within the story as follows: </span></p> <ol> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Initial Situation </strong>Members of family of hero introduced</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Absentation </strong>One of the members absents himself from home</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Interdiction</strong> An interdiction is addressed to the hero.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Violation</strong> An interdiction is violated.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Reconnaissance</strong> The villain makes an attempt at reconnaissance. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Delivery</strong> The villain receives information about his victim.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Trickery</strong> The villain attempts to deceive the victim.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Complicity</strong> The victim submits to deception, unwittingly helps his enemy.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Villainy</strong> The villain causes harm or injury to members of the family.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Lack</strong> One member of a family lacks something or wants something.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Mediation</strong> Misfortune is known. Hero is dispatched.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Counteraction</strong> Seekers decide to agree on counteraction.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Departure</strong> The hero leaves home.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>1st function</strong> of donor Hero is tested, receives magical agent donor or helper.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Hero&#39;s Reaction</strong> Hero reacts to action of the future donor.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Receipt of Magic Agent</strong> Hero acquires the use of magical agent.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Spatial Transference</strong> Hero is led to object of search.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Struggle</strong> Hero and villain join in direct combat.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Branding</strong> Hero is branded.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Victory</strong> Villain is defeated</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Liquidation</strong> Initial misfortune or lack is liquidated.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Return</strong> The hero returns.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Pursuit</strong> A chase: the hero is pursued.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Rescue</strong> Rescue of hero from pursuit.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Unrecognized</strong> The hero, unrecognized, arrives home or in another arrival country.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Unfounded claims</strong> A false hero presents unfounded claims.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Difficult task</strong> A difficult task is proposed to the hero.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Solution</strong> The task is resolved.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Recognition</strong> The hero is recognized.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Exposure</strong> The false hero or villain is exposed.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Transfiguration</strong> The hero is given a new appearance.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Punishment</strong> The villain is punished.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Wedding</strong> The hero is married and ascends the throne.</span> </li> </ol> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Greimas</strong></span></p> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><img alt="" height="113" src="http://www.adamranson.plus.com/greimas.gif" width="271" /></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The Lithuanian structuralist semiotician Algirdas Greimas proposed a grammar of narrative which could generate any known narrative structure </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">As a result of a &#39;semiotic reduction&#39; of Propp&#39;s seven roles he identified three types of narrative syntagms: </span></p> <p>&#0160;</p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Tasks and struggles</strong>; &#39;syntagms performanciels&#39;</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>The establishment or breaking of contracts</strong>; &#39;syntagms contractuels&#39; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Departures and arrivals</strong>;&#39;syntagms disjonctionnels&#39;</span> </li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Greimas claimed that three basic binary oppositions underlie all narrative themes, actions and character types (which he collectively calls &#39;actants&#39;), namely: </span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Subject/Object (Propp&#39;s hero and sought-for-person)</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Sender/Receiver (Propp&#39;s dispatcher and hero - again) </strong></span></li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Helper/)Opponent (conflations of Propp&#39;s helper and donor, plus the villain and the false hero) - </strong></span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Note that Greimas argues that the hero is both subject and receiver. The subject is the one who seeks; the object is that which is sought. The sender sends the object and the receiver is its destination. The helper assists the action and the opponent blocks it. . </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Terence Hawkes summarizes Greimas&#39;s model: a narrative sequence employs &#39;two actants whose relationship must be either oppositional or its reverse; and on the surface level this relationship will therefore generate fundamental actions of disjunction and conjunction, separation and union, struggle and reconciliation etc. The movement from one to the other, involving the transfer on the surface of some entity - a quality, an object - from one actant to the other, constitutes the essence of the narrative&#39; .</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Condensed from Daniel Chandler&#39;s &#39;Semiotics for Beginners&#39;: <a href="http://www.aber.ac.uk/media/Documents/S4B/sem04.html">http://www.aber.ac.uk/media/Documents/S4B/sem04.html</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Todorov</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;">Tzvetan Todorov suggested that conventional narratives are structured in five stages:</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />1. a state of<strong> equilibrium</strong> at the outset;<br />2. a <strong>disruption </strong>of the equilibrium by some action;<br />3. a <strong>recognition</strong> that there has been a disruption;<br />4. an <strong>attempt to repair</strong> the disruption;<br />5. a <strong>reinstatement of the equilibrium</strong></span></p> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif;">This type of narrative structure is very familiar to us. In the James Bond movies, for example, a megalomaniac usually creates the disruption by attempting to take over the world. Once this is recognised Bond is despatched by M and most of the film is taken up with stage four before finishing at stage five.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Aristotle</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;">Headings that are used by some producers and screenwriters include:</span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;">Inciting Incident</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Dramatic Question</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Character Goal</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Antagonist/Protagonist</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Stakes</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Resolution</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Sympathy/Empathy</span> </li> </ul> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">These headings are very close to those suggested by the father of narrative theory, Aristotle</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Aristotle&#39;s literary criticism is probably most famous for the &quot;unities&quot;: time, place, and action. Aristotle&#39;s most complete analysis is of &#39;tragedy&#39;, which is arguably the basis of most &#39;serious drama&#39;.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br /><strong>What is a tragedy?</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br /><span style="font-size: x-small;">Tragedy is &quot;an imitation of an action that is serious, complete, and of a certain magnitude. . . in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.&quot; If everything falls properly into place, a tragedy will produce katharsis. Katharsis is a healthful purging of the emotions caused by the pity and fear (terror) which the tragedy arouses. It controls and directs these emotions as well as purifies them.</span></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />Every tragedy must have the following six parts: Plot, Character, Diction, Thought, Spectacle, and Song. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />1. <strong>Plot</strong> &quot;is the structure of the incidents. For Tragedy is an imitation not of men, but of an action and of life, and life consists in action.&quot; <br />2. <strong>Character</strong>[s] are the agents of the action. As such, the characters must be related to the plot. <br />3. <strong>Thought</strong> is both the manner of the characters&#39; speech and the general tenor, or theme of the drama. <br />4. <strong>Diction</strong> is &quot;the expression of the meaning the words.&quot; <br />5. Of <strong>Spectacle and Song</strong>, little needs to be said. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />Now let us examine some of these elements in more detail and try to simplify them.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong>1. Plot. </strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Tragedy imitates an action which is <em>complete and whole</em> and which presents events which are both <em>terrible and pitiful. </em></span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">To present a <em>unified action,</em> the elements of the plot should be so joined that &quot;if any one of them is displaced or removed, the whole will be disjointed and disturbed. For a thing whose presence or absence makes no visible difference, is not an organic part of the whole.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The events of the plot should &quot;come on us surprise,&quot; but &quot;the effect is heightened when, at the same time, they follow as <em>cause and effect</em>.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Tragedy should depict the fall of a man who is basically good, but who suffers from some error or frailty. He must not fall from external circumstances, but from this <em>&quot;tragic flaw&quot;</em> in his own character. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The structure of tragedy falls into two parts: <em>complication and unravelling</em>; and although a poet may introduce extraneous incidents to help with the complication, he should avoid a multiplicity of plots. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The unravelling of the plot should come from inside the play and not from an external <em>Deus ex machina</em>. </span></li> </ul> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong><br />2. Character. </strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">First, character should be &quot;good,&quot; by which Aristotle seems to imply that character should manifest some <em>moral purpose</em>. &quot;Even a woman may be good.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">For characters who exhibit defects of character, the poet should both preserve the type and yet ennoble it. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Characters should exhibit propriety and should be <em>true to life</em>. Aristotle suggests that poets may be &quot;mad&quot; (like Plato&#39;s remarks in The Ion, or that they should &quot;enter into&quot; their characters through sympathetic identification. In this way, Aristotle counters Plato&#39;s assertion that poets do not &quot;know&quot; what they are writing about. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Characters should be <em>consistent</em>. And if the original character were inconsistent, in the play he should be &quot;consistently inconsistent.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In character as well as in plot (Aristotle returns again and again to plot, which indicates how crucial this element of tragedy was to his scheme) poets should always aim at either the <em>necessary or the probable. </em></span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong><br />3. Thought and Diction (Style)</strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In drama a poet should show his audience what they need to know in utmost vividness, <em>without getting in the way of the action</em>. He should speak as little as possible in his own voice. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The style should be <em>clear without being &quot;mean,&quot;</em> and it should use only current and proper words. <br />Aristotle especially admires metaphor as an element of style: &quot;it is the mark of genius, -- for to make good metaphors implies an eye for resemblances.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Poets should always prefer probable impossibilities to &quot;improbable possibilities.&quot; <em>Things irrational should be excluded</em> or should lie outside the action of the play. </span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif;">See also: </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/Aristotlean%20Analysis-Action.PDF">Aristotlean elements of drama</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/filmform.PDF">Film Form</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/narrativetheories.htm">Narrative Theories</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/Propp.htm">Propp&#39;s Theory of Narrative</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/todorov.htm">Todorov&#39;s narrative theory</a></span></p> <p><a href="http://www.mediaknowall.com/alevkeyconcepts/narrative.htmlhttp://www.mediaknowall.com/alevkeyconcepts/narrative.html"><span style="font-family: Arial, Helvetica, sans-serif;">http://www.mediaknowall.com/alevkeyconcepts/narrative.html</span></a></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://classes.csumb.edu/TAT/TAT334-01/world/read/poetics_05notes.html">http://classes.csumb.edu/TAT/TAT334-01/world/read/poetics_05notes.html</a></span></p> <p>&#0160;</p> <table border="0" cellpadding="0" cellspacing="0" height="88" width="775"> <tbody> <tr> <td height="2" width="160"><a href="http://www.adamranson.plus.com/iconfrontpage.htm" target="_top"><img alt="" border="0" height="47" src="http://www.adamranson.plus.com/FILTON-3.gif.gif" width="156" /> </a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/files-2.html" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/2003Timetable.html" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/mediacontents.htm" target="_top"></a></td> <td height="2" width="78"><a href="http://www.adamranson.plus.com/frenchvideo.htm"></a></td> <td height="2" width="400"><a href="mailto:ransona@filton-college.ac.uk" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/medialinks.htm" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/Assignments.htm" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/section%20courses.html" target="_top"></a></td> <td height="2" width="1">&#0160;</td> </tr> </tbody> </table> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;"><a href="http://www.adamranson.plus.com/narrativestructure.html" target="_self"><img alt="" height="75" src="http://www.adamranson.plus.com/FILTON-2.gif" width="640" /></a></span></p> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">Narrative Structure</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Narrative theory mostly derives from either &#39;structuralst&#39; semiotic or linguistic theory or from &#39;Classical&#39; or &#39;Aristotlean&#39; literary theory. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">First the Structuralists:</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Barthes</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Barthes argues in S/Z that every narrative is interwoven with multiple codes. Although we impose temporal and generic structures onto the polysemy of codes (and traditional, &quot;readerly&quot; texts actively invite us to impose such structures), any text is, in fact, marked by the multiple meanings suggested by the five codes.All these codes operate within the &#39;&#39;diegesis&#39; or &#39;STORY WORLD&#39; The five codes are as follows:</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><strong>The hermeneutic code or ENIGMA CODE</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Refers to any element in a story that is not explained and, therefore, exists as an enigma for the reader, raising questions that demand explication. Most stories hold back details in order to increase the effect of the final revelation of all diegetic truths. We tend not to be satisfied by a narrative unless all &quot;loose ends&quot; are tied; however, narratives often frustrate the early revelation of truths, offering the reader what Barthes terms &quot;snares&quot; (deliberate evasions of the truth), &quot;equivocations&quot; (mixtures of truth and snare), &quot;partial answers,&quot; &quot;suspended answers,&quot; and &quot;jammings&quot; (acknowledgments of insolubility). The best example may well be the genre of the detective story. The entire narrative of such a story operates primarily by the hermeneutic code. We witness a murder and the rest of the narrative is devoted to determining the questions that are raised by the initial scene of violence. The detective spends the story reading the clues that, only at the end, reconstructs the story of the murder. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br /><strong><span style="font-size: small;">The proairetic code or ACTION CODE</span></strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Refers to the other major structuring principle that builds interest or suspense on the part of a reader or viewer. The proairetic code applies to any action that implies a further narrative action. For example, a gunslinger draws his gun on an adversary and we wonder what the resolution of this action will be. We wait to see if he kills his opponent or is wounded himself. Suspense is thus created by action rather than by a reader&#39;s or a viewer&#39;s wish to have mysteries explained.These first two codes tend to be aligned with temporal order and thus require, for full effect, that you read a book or view a film temporally from beginning to end. A traditional, &quot;readerly&quot; text tends to be especially &quot;dependent on [these] two sequential codes.&quot;<br /></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><strong>The symbolic code </strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The symbolic code is as a &quot;deep&quot; structural principle that organizes semantic meanings, usually by way of antitheses or by way of mediations between antithetical terms. Levi Strauss&#39;s BINARY OPPOSITION is a good example of this.<br /></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><strong>The cultural code </strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Any element in a narrative that refers &quot;to a science or a body of knowledge&quot;. In other words, the cultural codes tend to point to our shared knowledge about the way the world works,</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The codes point to the &quot;multivalence of the text&quot; and to &quot;its partial reversibility , allowing a reader to see a work not just as a single narrative line but as a braiding of meanings: &quot;The grouping of codes, as they enter into the work, into the movement of the reading, constitute a braid (text, fabric, braid: the same thing); each thread, each code, is a voice; these braided—or braiding—voices form the writing&quot;.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><a href="http://www.sla.purdue.edu/academic/engl/theory/narratology/modules/barthescodesmainframe.html">http://www.sla.purdue.edu/academic/engl/theory/narratology/modules/barthescodesmainframe.html</a></span></p> <p>&#0160;</p> <p><br /><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Levi-Strauss</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br />For Levi-Strauss in particular, such universal human truths--what all humans share by virtue of being human--exists at the level of structure. All signifying systems, all systems of cultural organization, share the same fundamental structures, regardless of their particular content. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Most important to us right now is Levi-Strauss&#39; insistence that the relations among units within the structure occur in binary pairs, which are either similar to each other or different from each other; this corresponds to Saussure&#39;s idea of paradigms, where one thing can be exchanged for something similar, and syntagms, where one thing is exchanged for something different. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">This also corresponds to the idea of metaphor and metonomy: metaphor is establishing a relationship of similarity between two things (A is like B, or A is B), while metonomy is substituting one thing for something close to it, related to it, but not it (saying &quot;crown&quot; instead of &quot;king,&quot; e.g.). The main point here is that relations between units of a system can only be analyzed in pairs: you know A is A because it&#39;s not B, and A is not Q, and A is not %, but you can only examine what A is in a binary pair: A:B, A:Q, A:%. In other words, what&#39;s important to Levi-Strauss is not the identity of any individual unit--he doesn&#39;t care what &quot;A&quot; is--but the relation between any two units compared in a binary pair. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In his book The Raw and the Cooked, Levi-Strauss goes further to discuss how binary pairs, particularly binary opposites, form the basic structure of all human cultures, all human ways of thought, and all human signifying systems. If there is a common &quot;human nature&quot; or &quot;human condition,&quot; from this perspective, it&#39;s that everyone everywhere thinks--and structures their worlds--in terms of binary pairs of opposites, like &quot;raw and cooked.&quot; Even more importantly, in every binary pair, one term is favored and the other disfavored: cooked is better than raw, good is better than evil, light is better than dark, etc. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><br />Basically, Levi-Strauss&#39; method is this. Take a myth. Reduce it to its smallest component parts--its &quot;mythemes.&quot; (Each mytheme is usually one event or position in the story, the narrative, of the myth). Then lay these mythemes out so that they can be read both diachronically and synchronically. The story, or narrative, of the myth exists on the diachronic (left-to-right) axis, in non-reversible time; the structure of the myth exists on the synchronic (up-and-down) axis, in reversible time.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Levi-Strauss would then look at the vertical columns of variants, and try to find some logic that connects all of the variations. In each case, there&#39;s something incomplete, some part that&#39;s missing that has to be supplied when/as the hero overcomes the obstacle. The contradiction between &quot;incomplete&quot; and &quot;complete,&quot; according to Levi-Strauss, is the cultural dilemma each version of our myth is trying to solve. <br /></span></p> <p><a href="http://www.adamranson.plus.com/%0Dhttp://www.colorado.edu/English/engl2010mk/levistrauss.2001.htm%0Dhttp://www.colorado.edu/English/engl2010mk/levistrauss.2001.htm">http://www.colorado.edu/English/engl2010mk/levistrauss.2001.htm</a></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Propp</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In a highly influential book, The Morphology of the Folktale, Vladimir Propp interpreted a hundred fairy tales in terms of around 30 &#39;functions&#39;. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">&#39;Function is understood as an act of character defined from the point of view of its significance for the course of the action&#39;. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Such functions are basic units of action. The folktales analysed by Propp were all based on the same basic formula: </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The basic tale begins with either injury to a victim, or the lack of some important object. Thus, at the very beginning, the end result is given: it will consist in the retribution for the injury or the acquisition of the thing lacked. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The hero, if he is not himself personally involved, is sent for, at which two key events take place. He meets a donor (a toad, a hag, a bearded old man, etc.), who after testing him for the appropriate reaction (for some courtesy, for instance) supplies him with a magical agent (ring, horse, cloak, lion) which enables him to pass victoriously through his ordeal. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Then of course, he meets the villain, engaging him in the decisive combat. Yet, paradoxically enough, this episode, which would seem to be the central one, is not irreplaceable. There is an alternative track, in which the hero finds himself before a series of tasks or labours which, with the help of his agent, he is ultimately able to solve properly... The latter part of the tale is little more than a series of retarding devices: the pursuit of the hero on his way home, the possible intrusion of a false hero, the unmasking of the latter, with the ultimate transfiguration, marriage and/or coronation of the hero himself. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Structuralists avoid defining human agents in terms of &#39;psychological essences&#39;, and participants are defined by analysts not in terms of &#39;what they are&#39; as &#39;characters&#39; but in terms of &#39;what they do&#39;. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Propp listed seven roles: </strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the villain</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the donor</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the helper</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the sought-for-person (and her father)</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the dispatcher</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the hero </strong></span></li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>the false hero </strong></span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif;">Propp schematized the various &#39;functions&#39; within the story as follows: </span></p> <ol> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Initial Situation </strong>Members of family of hero introduced</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Absentation </strong>One of the members absents himself from home</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Interdiction</strong> An interdiction is addressed to the hero.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Violation</strong> An interdiction is violated.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Reconnaissance</strong> The villain makes an attempt at reconnaissance. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Delivery</strong> The villain receives information about his victim.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Trickery</strong> The villain attempts to deceive the victim.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Complicity</strong> The victim submits to deception, unwittingly helps his enemy.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Villainy</strong> The villain causes harm or injury to members of the family.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Lack</strong> One member of a family lacks something or wants something.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Mediation</strong> Misfortune is known. Hero is dispatched.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Counteraction</strong> Seekers decide to agree on counteraction.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Departure</strong> The hero leaves home.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>1st function</strong> of donor Hero is tested, receives magical agent donor or helper.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Hero&#39;s Reaction</strong> Hero reacts to action of the future donor.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Receipt of Magic Agent</strong> Hero acquires the use of magical agent.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Spatial Transference</strong> Hero is led to object of search.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Struggle</strong> Hero and villain join in direct combat.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Branding</strong> Hero is branded.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Victory</strong> Villain is defeated</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Liquidation</strong> Initial misfortune or lack is liquidated.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Return</strong> The hero returns.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Pursuit</strong> A chase: the hero is pursued.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Rescue</strong> Rescue of hero from pursuit.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Unrecognized</strong> The hero, unrecognized, arrives home or in another arrival country.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Unfounded claims</strong> A false hero presents unfounded claims.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Difficult task</strong> A difficult task is proposed to the hero.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Solution</strong> The task is resolved.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Recognition</strong> The hero is recognized.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Exposure</strong> The false hero or villain is exposed.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Transfiguration</strong> The hero is given a new appearance.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Punishment</strong> The villain is punished.</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><strong>Wedding</strong> The hero is married and ascends the throne.</span> </li> </ol> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Greimas</strong></span></p> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><img alt="" height="113" src="http://www.adamranson.plus.com/greimas.gif" width="271" /></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The Lithuanian structuralist semiotician Algirdas Greimas proposed a grammar of narrative which could generate any known narrative structure </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">As a result of a &#39;semiotic reduction&#39; of Propp&#39;s seven roles he identified three types of narrative syntagms: </span></p> <p>&#0160;</p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Tasks and struggles</strong>; &#39;syntagms performanciels&#39;</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>The establishment or breaking of contracts</strong>; &#39;syntagms contractuels&#39; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Departures and arrivals</strong>;&#39;syntagms disjonctionnels&#39;</span> </li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Greimas claimed that three basic binary oppositions underlie all narrative themes, actions and character types (which he collectively calls &#39;actants&#39;), namely: </span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Subject/Object (Propp&#39;s hero and sought-for-person)</strong></span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Sender/Receiver (Propp&#39;s dispatcher and hero - again) </strong></span></li> <li><span style="font-family: Arial, Helvetica, sans-serif;"><strong>Helper/)Opponent (conflations of Propp&#39;s helper and donor, plus the villain and the false hero) - </strong></span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Note that Greimas argues that the hero is both subject and receiver. The subject is the one who seeks; the object is that which is sought. The sender sends the object and the receiver is its destination. The helper assists the action and the opponent blocks it. . </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Terence Hawkes summarizes Greimas&#39;s model: a narrative sequence employs &#39;two actants whose relationship must be either oppositional or its reverse; and on the surface level this relationship will therefore generate fundamental actions of disjunction and conjunction, separation and union, struggle and reconciliation etc. The movement from one to the other, involving the transfer on the surface of some entity - a quality, an object - from one actant to the other, constitutes the essence of the narrative&#39; .</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Condensed from Daniel Chandler&#39;s &#39;Semiotics for Beginners&#39;: <a href="http://www.aber.ac.uk/media/Documents/S4B/sem04.html">http://www.aber.ac.uk/media/Documents/S4B/sem04.html</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Todorov</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;">Tzvetan Todorov suggested that conventional narratives are structured in five stages:</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />1. a state of<strong> equilibrium</strong> at the outset;<br />2. a <strong>disruption </strong>of the equilibrium by some action;<br />3. a <strong>recognition</strong> that there has been a disruption;<br />4. an <strong>attempt to repair</strong> the disruption;<br />5. a <strong>reinstatement of the equilibrium</strong></span></p> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif;">This type of narrative structure is very familiar to us. In the James Bond movies, for example, a megalomaniac usually creates the disruption by attempting to take over the world. Once this is recognised Bond is despatched by M and most of the film is taken up with stage four before finishing at stage five.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"><strong>Aristotle</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;">Headings that are used by some producers and screenwriters include:</span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif;">Inciting Incident</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Dramatic Question</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Character Goal</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Antagonist/Protagonist</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Stakes</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Resolution</span> </li> <li><span style="font-family: Arial, Helvetica, sans-serif;">Sympathy/Empathy</span> </li> </ul> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">These headings are very close to those suggested by the father of narrative theory, Aristotle</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Aristotle&#39;s literary criticism is probably most famous for the &quot;unities&quot;: time, place, and action. Aristotle&#39;s most complete analysis is of &#39;tragedy&#39;, which is arguably the basis of most &#39;serious drama&#39;.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br /><strong>What is a tragedy?</strong></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br /><span style="font-size: x-small;">Tragedy is &quot;an imitation of an action that is serious, complete, and of a certain magnitude. . . in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.&quot; If everything falls properly into place, a tragedy will produce katharsis. Katharsis is a healthful purging of the emotions caused by the pity and fear (terror) which the tragedy arouses. It controls and directs these emotions as well as purifies them.</span></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />Every tragedy must have the following six parts: Plot, Character, Diction, Thought, Spectacle, and Song. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />1. <strong>Plot</strong> &quot;is the structure of the incidents. For Tragedy is an imitation not of men, but of an action and of life, and life consists in action.&quot; <br />2. <strong>Character</strong>[s] are the agents of the action. As such, the characters must be related to the plot. <br />3. <strong>Thought</strong> is both the manner of the characters&#39; speech and the general tenor, or theme of the drama. <br />4. <strong>Diction</strong> is &quot;the expression of the meaning the words.&quot; <br />5. Of <strong>Spectacle and Song</strong>, little needs to be said. </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><br />Now let us examine some of these elements in more detail and try to simplify them.</span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong>1. Plot. </strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Tragedy imitates an action which is <em>complete and whole</em> and which presents events which are both <em>terrible and pitiful. </em></span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">To present a <em>unified action,</em> the elements of the plot should be so joined that &quot;if any one of them is displaced or removed, the whole will be disjointed and disturbed. For a thing whose presence or absence makes no visible difference, is not an organic part of the whole.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The events of the plot should &quot;come on us surprise,&quot; but &quot;the effect is heightened when, at the same time, they follow as <em>cause and effect</em>.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Tragedy should depict the fall of a man who is basically good, but who suffers from some error or frailty. He must not fall from external circumstances, but from this <em>&quot;tragic flaw&quot;</em> in his own character. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The structure of tragedy falls into two parts: <em>complication and unravelling</em>; and although a poet may introduce extraneous incidents to help with the complication, he should avoid a multiplicity of plots. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The unravelling of the plot should come from inside the play and not from an external <em>Deus ex machina</em>. </span></li> </ul> <p>&#0160;</p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong><br />2. Character. </strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">First, character should be &quot;good,&quot; by which Aristotle seems to imply that character should manifest some <em>moral purpose</em>. &quot;Even a woman may be good.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">For characters who exhibit defects of character, the poet should both preserve the type and yet ennoble it. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Characters should exhibit propriety and should be <em>true to life</em>. Aristotle suggests that poets may be &quot;mad&quot; (like Plato&#39;s remarks in The Ion, or that they should &quot;enter into&quot; their characters through sympathetic identification. In this way, Aristotle counters Plato&#39;s assertion that poets do not &quot;know&quot; what they are writing about. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Characters should be <em>consistent</em>. And if the original character were inconsistent, in the play he should be &quot;consistently inconsistent.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In character as well as in plot (Aristotle returns again and again to plot, which indicates how crucial this element of tragedy was to his scheme) poets should always aim at either the <em>necessary or the probable. </em></span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif;"><strong><br />3. Thought and Diction (Style)</strong></span></p> <ul> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">In drama a poet should show his audience what they need to know in utmost vividness, <em>without getting in the way of the action</em>. He should speak as little as possible in his own voice. </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">The style should be <em>clear without being &quot;mean,&quot;</em> and it should use only current and proper words. <br />Aristotle especially admires metaphor as an element of style: &quot;it is the mark of genius, -- for to make good metaphors implies an eye for resemblances.&quot; </span></li> <li><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Poets should always prefer probable impossibilities to &quot;improbable possibilities.&quot; <em>Things irrational should be excluded</em> or should lie outside the action of the play. </span></li> </ul> <p><span style="font-family: Arial, Helvetica, sans-serif;">See also: </span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/Aristotlean%20Analysis-Action.PDF">Aristotlean elements of drama</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/filmform.PDF">Film Form</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/narrativetheories.htm">Narrative Theories</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/Propp.htm">Propp&#39;s Theory of Narrative</a></span></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.adamranson.plus.com/todorov.htm">Todorov&#39;s narrative theory</a></span></p> <p><a href="http://www.mediaknowall.com/alevkeyconcepts/narrative.htmlhttp://www.mediaknowall.com/alevkeyconcepts/narrative.html"><span style="font-family: Arial, Helvetica, sans-serif;">http://www.mediaknowall.com/alevkeyconcepts/narrative.html</span></a></p> <p><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://classes.csumb.edu/TAT/TAT334-01/world/read/poetics_05notes.html">http://classes.csumb.edu/TAT/TAT334-01/world/read/poetics_05notes.html</a></span></p> <p>&#0160;</p> <table border="0" cellpadding="0" cellspacing="0" height="88" width="775"> <tbody> <tr> <td height="2" width="160"><a href="http://www.adamranson.plus.com/iconfrontpage.htm" target="_top"><img alt="" border="0" height="47" src="http://www.adamranson.plus.com/FILTON-3.gif.gif" width="156" /> </a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/files-2.html" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/2003Timetable.html" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/mediacontents.htm" target="_top"></a></td> <td height="2" width="78"><a href="http://www.adamranson.plus.com/frenchvideo.htm"></a></td> <td height="2" width="400"><a href="mailto:ransona@filton-college.ac.uk" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/medialinks.htm" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/Assignments.htm" target="_top"></a></td> <td height="2" width="76"><a href="http://www.adamranson.plus.com/section%20courses.html" target="_top"></a></td> <td height="2" width="1">&#0160;</td> </tr> </tbody> </table>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36cae83b970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-12T04:47:39Ztag:api.typepad.com,2009:6a016304de4811970d017d40eb46a5970cPatterninghttp://activitystrea.ms/schema/1.0/article2013-02-12T04:47:39Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<blockquote> <p><img alt="" class="real_size zoom_out" height="768" id="image" src="http://24.media.tumblr.com/d0a1835ee61f8d3bc9f5d1deeed62dde/tumblr_mg8tiwkH8l1rdlxq5o1_1280.jpg" width="1024" /></p> </blockquote> <p><small>via <a href="http://naomipelletier.tumblr.com/image/39913519078">naomipelletier.tumblr.com</a></small></p> <blockquote> <p><img alt="" class="real_size zoom_out" height="768" id="image" src="http://24.media.tumblr.com/d0a1835ee61f8d3bc9f5d1deeed62dde/tumblr_mg8tiwkH8l1rdlxq5o1_1280.jpg" width="1024" /></p> </blockquote> <p><small>via <a href="http://naomipelletier.tumblr.com/image/39913519078">naomipelletier.tumblr.com</a></small></p>tag:api.typepad.com,2009:6a016304de4811970d017d40eb0df0970cartcoursehttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36caded3970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-12T04:44:44Ztag:api.typepad.com,2009:6a016304de4811970d017ee864d487970dResearch for your essayhttp://activitystrea.ms/schema/1.0/article2013-02-12T04:44:44Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-size: 18pt;"><span style="font-family: Calibri;">Some possible research prompts – Hitchcock<span style="mso-spacerun: yes;">&#0160; </span>Auteur Essay </span></span></p> <p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="font-size: small;"><span style="font-family: Calibri;">Remember to take note of all sources. This is a research essay and must be referenced.</span></span></p> <ol style="margin-top: 0cm;" type="1"> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">What is auteur theory? ( definitions of<span style="mso-spacerun: yes;">&#0160; </span>an auteur, origins of the theory, opposition to the theory) </span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">What is the criteria for being classed as an auteur? Does Hitchcock meet it?</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Hitchcock ( research background, career, influences – be wary of descriptive re-telling of his career, life etc –only<span style="mso-spacerun: yes;">&#0160; </span>use it if it important to your analysis of his film-making)</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Psycho and the Hitchcock signature style/themes</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Other texts and signature style/themes</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Creative Control over production? Art Vs Commercial success?</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Possible areas to focus on – ie Freud and Hitchcock, Male Gaze and Hitchcock etc</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">My hypothesis – was Hitchcock an auteur? Why/why not. </span></span></li> </ol> <p>Links for research</p> <p><strong><span style="font-size: x-small;">Film Site</span></strong></p> <p><span style="font-size: x-small;"><a href="http://www.filmsite.org/psyc.html" target="_self">The master of suspense skillfully manipulates and guides the audience into identifying with the main character, luckless victim Marion (a Phoenix real-estate secretary), and then with that character&#39;s murderer - a crazy and timid taxidermist named Norman (a brilliant typecasting performance by Anthony Perkins). Hitchcock&#39;s techniques voyeuristically implicate the audience with the universal, dark evil forces and secrets present in the film.</a></span><em>&#0160;</em></p> <p><em>&#0160;Images Journal</em></p> <p><em><a href="http://www.imagesjournal.com/issue02/features/psycho.htm" target="_self"><strong>The Parlor Scene in Psycho: Images of Duality</strong></a></em></p> <p><a href="http://www.imagesjournal.com/issue02/features/psycho.htm" target="_self">The scene begins with what appears to be an innocent invitation from Norman to Marion Crane (Janet Leigh), the unsuspecting guest at the Bates Motel, to come into &quot;the parlor.&quot; The use of the word parlor--as in &quot;&#39;come into my parlor&#39; said the spider to the fly&quot;--establishes the tenor of the scene. The significance of this brief line becomes all the more apparent at the end of the film when Norman&#39;s &quot;mother&quot;, who has by now consumed Norman&#39;s mind and soul, looks directly into the camera and says that &quot;she&quot; would not &quot;even hurt a fly.&quot; </a></p> <div class="mcePaste" id="_mcePaste" style="position: absolute; width: 1px; height: 1px; overflow: hidden; top: 0px; left: -10000px;">﻿</div> <p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-size: 18pt;"><span style="font-family: Calibri;">Some possible research prompts – Hitchcock<span style="mso-spacerun: yes;">&#0160; </span>Auteur Essay </span></span></p> <p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="font-size: small;"><span style="font-family: Calibri;">Remember to take note of all sources. This is a research essay and must be referenced.</span></span></p> <ol style="margin-top: 0cm;" type="1"> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">What is auteur theory? ( definitions of<span style="mso-spacerun: yes;">&#0160; </span>an auteur, origins of the theory, opposition to the theory) </span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">What is the criteria for being classed as an auteur? Does Hitchcock meet it?</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Hitchcock ( research background, career, influences – be wary of descriptive re-telling of his career, life etc –only<span style="mso-spacerun: yes;">&#0160; </span>use it if it important to your analysis of his film-making)</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Psycho and the Hitchcock signature style/themes</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Other texts and signature style/themes</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Creative Control over production? Art Vs Commercial success?</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">Possible areas to focus on – ie Freud and Hitchcock, Male Gaze and Hitchcock etc</span></span></li> <li class="MsoNormal"><span style="font-size: small;"><span style="font-family: Calibri;">My hypothesis – was Hitchcock an auteur? Why/why not. </span></span></li> </ol> <p>Links for research</p> <p><strong><span style="font-size: x-small;">Film Site</span></strong></p> <p><span style="font-size: x-small;"><a href="http://www.filmsite.org/psyc.html" target="_self">The master of suspense skillfully manipulates and guides the audience into identifying with the main character, luckless victim Marion (a Phoenix real-estate secretary), and then with that character&#39;s murderer - a crazy and timid taxidermist named Norman (a brilliant typecasting performance by Anthony Perkins). Hitchcock&#39;s techniques voyeuristically implicate the audience with the universal, dark evil forces and secrets present in the film.</a></span><em>&#0160;</em></p> <p><em>&#0160;Images Journal</em></p> <p><em><a href="http://www.imagesjournal.com/issue02/features/psycho.htm" target="_self"><strong>The Parlor Scene in Psycho: Images of Duality</strong></a></em></p> <p><a href="http://www.imagesjournal.com/issue02/features/psycho.htm" target="_self">The scene begins with what appears to be an innocent invitation from Norman to Marion Crane (Janet Leigh), the unsuspecting guest at the Bates Motel, to come into &quot;the parlor.&quot; The use of the word parlor--as in &quot;&#39;come into my parlor&#39; said the spider to the fly&quot;--establishes the tenor of the scene. The significance of this brief line becomes all the more apparent at the end of the film when Norman&#39;s &quot;mother&quot;, who has by now consumed Norman&#39;s mind and soul, looks directly into the camera and says that &quot;she&quot; would not &quot;even hurt a fly.&quot; </a></p> <div class="mcePaste" id="_mcePaste" style="position: absolute; width: 1px; height: 1px; overflow: hidden; top: 0px; left: -10000px;">﻿</div>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017ee865bef2970d The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-11T03:19:22Ztag:api.typepad.com,2009:6a016304de4811970d017ee865bef0970dFilm Techniques of Alfred Hitchcockhttp://activitystrea.ms/schema/1.0/article2013-02-11T03:19:22Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p>Film Techniques of Alfred Hitchcock</p> <p>An incrediably comprehensive look at Hitchcock and his techniques from <a href="http://www.borgus.com/hitch/index.htm" target="_self">Borgus site</a></p> <p><strong><a href="http://borgus.com/hitch/hitch2011.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon1.jpg" />How to Turn Your Boring Movie Into a Hitchcock Thriller</a></strong><br />Filmmakers and critics alike have rejoiced at this simplified encyclopedia of film director Alfred Hitchcock&#39;s techniques. From his notorious sequences seen from the character&#39;s viewpoint, to the collage of the Psycho shower scene, and the linear simplicity of his plots, this list of his top 13 techniques is compiled directly from his interviews.<br /><br /><br /><strong><a href="http://borgus.com/hitch/hitch-humor.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon2.jpg" />Humor: Hitchcock&#39;s Secret Weapon</a></strong><br />With a balance of laughs and tension, Hitchcock was able to strike the perfect chord of suspense in his feature films. This article shines light on an often ignored aspect of his style: his directorial wit. It is his quirky characters, ironic situations, whimsical settings, and deliberate gags that raise his films to an unmatched Hitchcockian brilliance.<br /><br /><br /><strong><a href="http://borgus.com/hitch/hitch-booth.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon3.jpg" />Message in a Booth: Arbogast&#39;s Last Words</a></strong><br />One scene in the 1960 thriller <em>Psycho</em> creates a forward momentum of suspense throughout the final Act. Here we explore the phone call Arbogast makes from a phone both in his final hours. The Telephone Booth Scene is a simple one of construction lasting less than two minutes of screen time and comprised of only two shots, but it becomes so much more. <br /><br /><br /><strong><a href="http://borgus.com/hitch/openings.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon5.jpg" />Creating a Hitchcockian Opening</a></strong><br />Hitchcock could ignite our curiosity at the outset of each film in ways unlooked at until now. Here we explore the most striking moments from each opening sequence of his theatrical films and examine his strategies for pulling in the viewer. Trends emerge from his use of comical music score to his movement of camera through public space, and landscapes filled with caricatures. <br /><br /><br /><strong><a href="http://borgus.com/hitch/macguffins.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon4.jpg" />The Definitive List of Hitchcock MacGuffins</a></strong><br />We are on a quest to compile the most definitive list of the MacGuffins used in Alfred Hitchcock&#39;s feature films and TV episodes. What&#39;s a MacGuffin? Find out what Hitchcock thought of this elusive plot device. From the weapons plans of Mr. Memory, to the goverment secrets being stolen by Van Damme, we&#39;ve listed them all here.<br /><br /><br /><strong><a href="http://borgus.com/hitch/sound.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon6.jpg" />Sound: Hitchcock&#39;s Third Dimension</a></strong><br />With the production of his first sound film, <em>Blackmail (1929)</em>, Hitchcock found new ways to manipulate the soundtrack in order to add new dimensions to the flat movie screen. Here we look at his instictive techniques of sound mixing in <em>Blackmail</em> as it laid the foundation for his use of sound in later works - from kept secrets to silent murders.<br /><br /><br /><strong><a href="http://borgus.com/hitch/cameo.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon7.jpg" />The Cameo: Appearing in Your Own Film</a></strong><br />As a part of an intense publicity effort, Hitchcock put his face on anything he could in order to shape an air of credibility that would permanently launch the Master of Suspense into the public consciousness. From scene transitions, crowd insertions, and a bond with the audience, here we look at what makes his film cameos tick.<br /><br /><br />Jeffrey Michael Bays is producer of the award-winning radio special <em>Not From Space (2003)</em> heard on SiriusXM Radio. He recently directed an homage to Alfred Hitchcock&#39;s techniques entitled <em>Offing David (2008)</em>, an Australian film starring Nathaniel Buzolic and Asha Kuerten. A graduate of Webster University, St. Louis, he just completed a Master of Arts in Cinema at La Trobe University, Melbourne, Australia. His is currently writing a book on the art of <a href="http://www.borgus.com/film/">scene transitions.</a></p> <p>Film Techniques of Alfred Hitchcock</p> <p>An incrediably comprehensive look at Hitchcock and his techniques from <a href="http://www.borgus.com/hitch/index.htm" target="_self">Borgus site</a></p> <p><strong><a href="http://borgus.com/hitch/hitch2011.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon1.jpg" />How to Turn Your Boring Movie Into a Hitchcock Thriller</a></strong><br />Filmmakers and critics alike have rejoiced at this simplified encyclopedia of film director Alfred Hitchcock&#39;s techniques. From his notorious sequences seen from the character&#39;s viewpoint, to the collage of the Psycho shower scene, and the linear simplicity of his plots, this list of his top 13 techniques is compiled directly from his interviews.<br /><br /><br /><strong><a href="http://borgus.com/hitch/hitch-humor.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon2.jpg" />Humor: Hitchcock&#39;s Secret Weapon</a></strong><br />With a balance of laughs and tension, Hitchcock was able to strike the perfect chord of suspense in his feature films. This article shines light on an often ignored aspect of his style: his directorial wit. It is his quirky characters, ironic situations, whimsical settings, and deliberate gags that raise his films to an unmatched Hitchcockian brilliance.<br /><br /><br /><strong><a href="http://borgus.com/hitch/hitch-booth.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon3.jpg" />Message in a Booth: Arbogast&#39;s Last Words</a></strong><br />One scene in the 1960 thriller <em>Psycho</em> creates a forward momentum of suspense throughout the final Act. Here we explore the phone call Arbogast makes from a phone both in his final hours. The Telephone Booth Scene is a simple one of construction lasting less than two minutes of screen time and comprised of only two shots, but it becomes so much more. <br /><br /><br /><strong><a href="http://borgus.com/hitch/openings.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon5.jpg" />Creating a Hitchcockian Opening</a></strong><br />Hitchcock could ignite our curiosity at the outset of each film in ways unlooked at until now. Here we explore the most striking moments from each opening sequence of his theatrical films and examine his strategies for pulling in the viewer. Trends emerge from his use of comical music score to his movement of camera through public space, and landscapes filled with caricatures. <br /><br /><br /><strong><a href="http://borgus.com/hitch/macguffins.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon4.jpg" />The Definitive List of Hitchcock MacGuffins</a></strong><br />We are on a quest to compile the most definitive list of the MacGuffins used in Alfred Hitchcock&#39;s feature films and TV episodes. What&#39;s a MacGuffin? Find out what Hitchcock thought of this elusive plot device. From the weapons plans of Mr. Memory, to the goverment secrets being stolen by Van Damme, we&#39;ve listed them all here.<br /><br /><br /><strong><a href="http://borgus.com/hitch/sound.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon6.jpg" />Sound: Hitchcock&#39;s Third Dimension</a></strong><br />With the production of his first sound film, <em>Blackmail (1929)</em>, Hitchcock found new ways to manipulate the soundtrack in order to add new dimensions to the flat movie screen. Here we look at his instictive techniques of sound mixing in <em>Blackmail</em> as it laid the foundation for his use of sound in later works - from kept secrets to silent murders.<br /><br /><br /><strong><a href="http://borgus.com/hitch/cameo.htm"><img align="left" alt="" hspace="15" src="http://www.borgus.com/hitch/icon7.jpg" />The Cameo: Appearing in Your Own Film</a></strong><br />As a part of an intense publicity effort, Hitchcock put his face on anything he could in order to shape an air of credibility that would permanently launch the Master of Suspense into the public consciousness. From scene transitions, crowd insertions, and a bond with the audience, here we look at what makes his film cameos tick.<br /><br /><br />Jeffrey Michael Bays is producer of the award-winning radio special <em>Not From Space (2003)</em> heard on SiriusXM Radio. He recently directed an homage to Alfred Hitchcock&#39;s techniques entitled <em>Offing David (2008)</em>, an Australian film starring Nathaniel Buzolic and Asha Kuerten. A graduate of Webster University, St. Louis, he just completed a Master of Arts in Cinema at La Trobe University, Melbourne, Australia. His is currently writing a book on the art of <a href="http://www.borgus.com/film/">scene transitions.</a></p>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d40f0f9a6970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-11T03:11:22Ztag:api.typepad.com,2009:6a016304de4811970d017d40f0f9a3970cOld School Reviews: Psychohttp://activitystrea.ms/schema/1.0/article2013-02-11T03:11:22Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<p>An excellent review of pyscho from <a href="http://oldschoolreviews.com/rev_60/psycho.htm" target="_self">Old School Reviews.</a></p> <p><span style="font-family: ARIAL,HELVETICA; font-size: x-small;">I wasn&#39;t allowed to see <em><strong>Psycho</strong></em> when it first came out in 1960. My parents only allowed us to see Walt Disney and John Wayne movies automatically and only a handful of other approved films. <em><strong>Psycho</strong></em> didn&#39;t make the list. Perhaps a good thing.<br /><br />Finally seeing <em><strong>Psycho</strong></em> my freshman year of college, I was unable to take a shower in a motel room for seven years. Even now I make sure that every door is locked securely before I can &quot;risk&quot;; taking a motel shower. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s film has that much power.<br /><br />Assuming that you are already aware of the classic shower scene since it has reappeared in <em><strong>Psycho II</strong></em>, reprised in the unfortunate Van Sant <em><strong>Psycho</strong></em> remake/desecration, been spoofed in <strong><em>High Anxiety</em></strong>, and influenced countless subsequent horror movies, remarks here should not spoil the film for you. You can make a credible case that this landmark movie gave birth to the modern horror film. By chance if you are the last carbon life form to know about the pivotal scene, read no further because the big &quot;surprise&quot; will be revealed in the next sentence.<br /><br /><br />Never before had a protagonist been killed off before half the movie was over with no hope of return. There would be no flashbacks, no alternative points of view, and no dream sequence. Hitchcock invites us to a nightmare, a horrific rollercoaster ride that has the audience holding its breath the rest of the way. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> had manipulates the audience perfectly, and film has never been the same since.<br /><br /><em><strong>Psycho</strong></em> is the first film that involved me so much that I became completely hooked on the magic of movies. I have seen this film over 40 times, and it continues to hold my interest. <br /><br /><br /><strong>A Little Background</strong><br /><br />The last of <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s Paramount pictures, which was actually shot on the back lots of Universal Studios, <em><strong>Psycho</strong></em> was deliberately kept on a low budget. Since other films had been making a great deal of money with cheap movies, the legendary director took it as a challenge to make this film for under $1 million. He even forsook his regular feature film crew that had just completed <strong><em>North by Northwest</em></strong>, using the television crew that filmed <strong><em>Alfred Hitchcock Presents</em></strong>.<br /><br />Shooting in black and white helped keep the film within the targeted budget, but the main reason that <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> wanted to shoot <strong><em><a href="http://www.toxicuniverse.com/review.php?rid=10000726" style="color: black; cursor: default; text-decoration: none;">Psycho</a></em></strong> in black and white was that he felt it would be too gory in Technicolor. Van Sant&#39;s color footage in his poorly crafted 1998 remake prove that <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s use of chocolate syrup in the tub is far more effective. The master illusionist knows how to get inside our minds with visual imagery.<br /><br />Based loosely on Robert Bloch&#39;s novel of the same name that was about a Wisconsin man who killed a number of his neighbors, Hitchcock obtained the rights to the novel after reading the book on a plane flight to England. When young screenwriter Joseph Stephano came up with the idea of focusing on Marion the first part of the film and killing her off in the shower, <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s creative genius was sparked--he decided to cast a major actress for that part. All the more shocking for the audience that way!<br /><br />The chosen actress is Janet Leigh, who had appeared in numerous films, including Orson Welles&#39; classic <strong><em>Touch of Evil</em></strong>. Leigh will now be indelibly linked with Marion Crane. While <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> treated her with great respect, presenting her with Bloch&#39;s original novel before the screenplay was finished, Leigh says that she would have taken the part just for the opportunity to work with <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>. This is the only Hitchcock film that she ever appears in.<br /><br />With the one well-known actress getting murdered early, the audience is sent reeling unexpectedly into horror&#39;s abyss, as they must then seek a relatively unknown character to follow. Just who is the protagonist? <br /><br />One of the sympathetic candidates for the audience is the Norman Bates character, played to perfection by Anthony Perkins, whose best known leading role previously had been as baseball player Jimmy Piersall in <strong><em><a href="http://oldschoolreviews.com/rev_50/fear_strikes_out.htm">Fear Strikes Out</a></em></strong>. Perkins tightropes his way through the Norman Bates persona so unforgettably that he will forever be associated with the role.<br /><br />Other protagonists include: Detective Arbogast (New York character actor Martin Balsam), Sam Loomis (Universal contract player John Gavin), and Lila Crane (Vera Miles). Actually the real protagnist of <em><strong>Psycho</strong></em> and with most Hitchcock movies is the camera, and the director has never had as much fun with the audience as he does here.<br /><br />While Leigh claims in <em><strong>The Making of Psycho</strong></em> that Hitchcock was very considerate of her, not all actor stories are so pleasant. The Master of Suspense is quoted as saying that the actual filming process was rather boring to him because he had already visualized how his movie would be before starting--making actors little more than pawns in his hands, especially if it was an actor that he didn&#39;t especially respect. Such was the case in <em><strong>Psycho</strong></em> with John Gavin. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> privately referred to him as &quot;the stiff&quot; and once conferred privately with Janet Leigh, asking her to do &quot;something&quot; to evoke passion from Gavin in the initial hotel bedroom scene.<br /><br /><strong>What Makes <a href="http://www.toxicuniverse.com/review.php?rid=10000726" style="color: black; cursor: default; text-decoration: none;">Psycho</a> Work So Well? </strong><br /><br /><em><strong>Psycho</strong></em> represents <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> hitting on all cylinders in his first true &quot;horror&quot; movie. It still resembles his classic suspense films like <strong><em>North by Northwest, Vertigo, Rear Window</em></strong>, and where a main character goes through her daily activities when before being swept into a suspenseful vortex of intrigue. Similarly, the &quot;villain&quot; is virtually indistinguishable from the &quot;good guys&quot; in this thriller, and identities continue to be obscurred. Just WHO is that woman buried in the cemetery?<br /><br /><em>Acting</em><br /><br />The acting, most notably with Anthony Perkins and Janet Leigh is outstanding. Perkins personifies Norman as a shy but charming young man who dutifully protects his sick old mother. He shows subtle inward signs of righteous anger when she is threatened by the Arbogast and Loomis characters, so he treads the fine line of engendering our sympathy and dreading the monster that he hides. For some of Leigh&#39;s best acting, just take a close look at her facial gestures as she is driving towards Fairview--we&#39;ve all felt her uneasiness when police are following behind, and we sense her alternating feelings of guilt and smug triumph as she drives. The fact that this is done silently or done with a voice-over is remarkable.<br /><br /><em>Plot structure, screenwriting, and music</em><br /><br />The whole plot concept is sheer genius. Begining in a cheap Phoenix hotel room during a stolen lunch break with some stolen time, Marion Crane and Sam Loomis want to get married but have no money. Back at work, she is seizes an easy opportunity to take off $40,000 to solve her financial problems, heading westward to join Sam, but stops at the Bates Motel. <br /><br />Talking with the shy motel proprietor, she discovers that he lives in a private trap and that she has just created a similar one for herself. Resolving to return to Phoenix to extract herself from her crime, Marion takes a baptismal shower. At this point film history is made with Hitchcock&#39;s dizzy ride of terror.<br /><br />Part of the genius of the script lies with foreshadowing references, most notably to the classic shower scene in the Bates Motel. Of course we begin with a hotel room shot after the camera pans over downtown Phoenix. During this initial conversation with Sam, Marion remarks &quot;We pay, too, who meet in cheap hotel rooms.&quot; Later on the road when the police officer wakes Marion up from her nap, he suggests to her that there are plenty of motels in the area and that she should pull into one, &quot;just to be safe.&quot; These all prepare us for a premature climax; at least for the first one.<br /><br />Screenwriter Stephano also works subtle motifs into the plot to bring out certain themes. Of course <em><strong>Psycho</strong></em> refers to a person who lives in multiple worlds and has a split personality. Even the screen credits foreshadow this concept. Reenforcing the concept are multiple mirrors found throughout the story. Nearly every scene uses mirrors--the rear view in Marion&#39;s car, the overhead shot in the car dealer restroom, the desk at the Bates Motel, and a whole series of mirrors that scares Lila in Mrs. Bates&#39; room.<br /><br />Another element that Stephano and <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> weave throughout <em><strong>Psycho</strong></em> is a &quot;bird&quot; motif. Marion herself is a &quot;bird,&quot; as her last name is Crane. Of course, British slang at the time refers to women as &quot;birds,&quot; fitting into the overall plot as well. Note the picture on the motel wall that falls to the floor when Norman discovers the shower room murder--a bird, naturally. Norman practices taxidermy and has a whole collection of birds. Thus, when he states that his mother &quot;is as harmless as one of these stuffed birds,&quot; this has deeper layers of meaning. Embellishing this bird motif even further is Bernard Herman&#39;s brilliant all-strings musical score--his shower room music resembles shrieking birds. Note where these sounds re-occur for additional pleasure.<br /><br /><em>Director control, Editing and Cinematography</em><br /><br />There is no question that this is a <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> film. It has his marks all over it with familiar visual references. We have the required blonde lady protagonists and we have the necessary voyeuristic references, most obviously with the opening shot peeking into the hotel room and later behind Norman&#39;s painting of &quot;The Rape of Lucretia.&quot; <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> remains a favorite among foreign audiences with his emphasis on the visual, so notice how little dialogue that he requires here. There is a typical Hitchcockian rhythm to the film, as dialogue scenes are followed by long stretches of scenes that are purely visual.<br /><br />With <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> the camera is all-important. In fact, he instructs his actors to follow where his camera is going because he already knows what his film is going to do for it to work. He doesn&#39;t need actors who are going to interfere with his artistic vision. So many times in <em><strong>Psycho</strong></em>, we are let in on Marion&#39;s inner turmoil. Notice how the camera silently communicates this as she first debates taking the money back at her Phoenix home. Of course, it is no accident that <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> has had Marion change into her black slip and bra as she contemplates the crime.<br /><br />Hitch meticulously selects his camera angles, types of shots, and framing throughout the film. There are numerous examples to cite, but one of note is the overhead shot of Arbogast climbing the steps towards Mrs. Bates room and the subsequent tracking shot. There are multiple reasons for these shots, which will be apparent after viewing <em><strong>Psycho</strong></em> and thoroughly contemplating the scene.<br /><br />Of course, there is the much studied shower scene to illustrate the illusionary effects of effective editing. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> spent a solid week filming this crucial 45-second sequence. It begins rather slowly with cuts between Marion&#39;s profile and shots of the showerhead, and then the fun begins with rapid cuts that will make you swear that our heroine has been slashed to shreds. Watch closely and you will be able to tell that the butcher knife never does actually touch Marion&#39;s body. <br /><br />Never before has a murder like this been filmed so artistically. The rapid shower slashing accompanied with harsh violin strokes is terrifying even 40 years later. Watch the way <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitch</a>&#39;s camera transitions from the circling blood in the drain to Marion&#39;s lifeless eye. Suddenly the shocked audience sits without anyone to latch onto for the protagonist, so the camera slowly pans through the motel room, first reminding us of the now inconsequential $40,000, and then up to the Bates house where we hear Norman yelling &quot;O God, mother, blood!&quot; Far gorier scenes have been filmed in recent history. None leaves longer lasting impressions. <br /><br /><strong>The Denouement </strong><br /><br />Knowing about the shower scene beforehand doesn&#39;t cheapen the experience. Most of my high school students had only seen the <em><strong>Psycho</strong></em> sequels and knew only of that shower scene without the surrounding context, yet this venerable classic still works with a younger audience. A later scene always caused screams from many of the young ladies and provoked shocked expressions from many of the young men. Universally the students remarked about how <em><strong>Psycho</strong></em> was much better than the teen slashers that they had been watching.<br /><br />I am surprised that even the weakest scene in the movie--the oft-cited psychologist&#39;s overly detailed explanation--works with younger audiences, left confused by the complexity of the characters. The original <em><strong>Psycho</strong></em> remains unsurpassed and still works with modern audiences if they will overcome any prejudice they have against black and white films. No need for a remake without Anthony Perkins in the pivotal role! <br /><br /><a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> has tapped primal forces and fears here, fears that remain with us today. Which of us has ever contemplated whether we could get by with a crime, have done something that we felt guilty about, or felt uneasy when followed by a policeman. Hitch taps into our own guilt by making us a party to the murder--we voyeuristically peek in on the crime. We also only have to read a daily newspaper to hear about some random murder that can make us wonder if we could ever be a victim in such a horror scene. <br /><br />Fortunately, most of us will never have to face that reality. We can take the ultimate two-hour rollercoaster ride by watching <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s shocking masterpiece. The thing about <em><strong>Psycho</strong></em> that is different from most movies, is that the scenes continue to live on inside our memory long after the images have disappeared from the screen. That&#39;s what great movies do--they continue to live within.<br /><br />After all, we all go a little mad sometimes. <em><strong>Psycho</strong></em> allows us to experience the madness without fully jumping on board, and <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> has introduced more people to abnormal psychology than anyone since Sigmund Freud.</span></p> <p>An excellent review of pyscho from <a href="http://oldschoolreviews.com/rev_60/psycho.htm" target="_self">Old School Reviews.</a></p> <p><span style="font-family: ARIAL,HELVETICA; font-size: x-small;">I wasn&#39;t allowed to see <em><strong>Psycho</strong></em> when it first came out in 1960. My parents only allowed us to see Walt Disney and John Wayne movies automatically and only a handful of other approved films. <em><strong>Psycho</strong></em> didn&#39;t make the list. Perhaps a good thing.<br /><br />Finally seeing <em><strong>Psycho</strong></em> my freshman year of college, I was unable to take a shower in a motel room for seven years. Even now I make sure that every door is locked securely before I can &quot;risk&quot;; taking a motel shower. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s film has that much power.<br /><br />Assuming that you are already aware of the classic shower scene since it has reappeared in <em><strong>Psycho II</strong></em>, reprised in the unfortunate Van Sant <em><strong>Psycho</strong></em> remake/desecration, been spoofed in <strong><em>High Anxiety</em></strong>, and influenced countless subsequent horror movies, remarks here should not spoil the film for you. You can make a credible case that this landmark movie gave birth to the modern horror film. By chance if you are the last carbon life form to know about the pivotal scene, read no further because the big &quot;surprise&quot; will be revealed in the next sentence.<br /><br /><br />Never before had a protagonist been killed off before half the movie was over with no hope of return. There would be no flashbacks, no alternative points of view, and no dream sequence. Hitchcock invites us to a nightmare, a horrific rollercoaster ride that has the audience holding its breath the rest of the way. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> had manipulates the audience perfectly, and film has never been the same since.<br /><br /><em><strong>Psycho</strong></em> is the first film that involved me so much that I became completely hooked on the magic of movies. I have seen this film over 40 times, and it continues to hold my interest. <br /><br /><br /><strong>A Little Background</strong><br /><br />The last of <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s Paramount pictures, which was actually shot on the back lots of Universal Studios, <em><strong>Psycho</strong></em> was deliberately kept on a low budget. Since other films had been making a great deal of money with cheap movies, the legendary director took it as a challenge to make this film for under $1 million. He even forsook his regular feature film crew that had just completed <strong><em>North by Northwest</em></strong>, using the television crew that filmed <strong><em>Alfred Hitchcock Presents</em></strong>.<br /><br />Shooting in black and white helped keep the film within the targeted budget, but the main reason that <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> wanted to shoot <strong><em><a href="http://www.toxicuniverse.com/review.php?rid=10000726" style="color: black; cursor: default; text-decoration: none;">Psycho</a></em></strong> in black and white was that he felt it would be too gory in Technicolor. Van Sant&#39;s color footage in his poorly crafted 1998 remake prove that <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s use of chocolate syrup in the tub is far more effective. The master illusionist knows how to get inside our minds with visual imagery.<br /><br />Based loosely on Robert Bloch&#39;s novel of the same name that was about a Wisconsin man who killed a number of his neighbors, Hitchcock obtained the rights to the novel after reading the book on a plane flight to England. When young screenwriter Joseph Stephano came up with the idea of focusing on Marion the first part of the film and killing her off in the shower, <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s creative genius was sparked--he decided to cast a major actress for that part. All the more shocking for the audience that way!<br /><br />The chosen actress is Janet Leigh, who had appeared in numerous films, including Orson Welles&#39; classic <strong><em>Touch of Evil</em></strong>. Leigh will now be indelibly linked with Marion Crane. While <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> treated her with great respect, presenting her with Bloch&#39;s original novel before the screenplay was finished, Leigh says that she would have taken the part just for the opportunity to work with <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>. This is the only Hitchcock film that she ever appears in.<br /><br />With the one well-known actress getting murdered early, the audience is sent reeling unexpectedly into horror&#39;s abyss, as they must then seek a relatively unknown character to follow. Just who is the protagonist? <br /><br />One of the sympathetic candidates for the audience is the Norman Bates character, played to perfection by Anthony Perkins, whose best known leading role previously had been as baseball player Jimmy Piersall in <strong><em><a href="http://oldschoolreviews.com/rev_50/fear_strikes_out.htm">Fear Strikes Out</a></em></strong>. Perkins tightropes his way through the Norman Bates persona so unforgettably that he will forever be associated with the role.<br /><br />Other protagonists include: Detective Arbogast (New York character actor Martin Balsam), Sam Loomis (Universal contract player John Gavin), and Lila Crane (Vera Miles). Actually the real protagnist of <em><strong>Psycho</strong></em> and with most Hitchcock movies is the camera, and the director has never had as much fun with the audience as he does here.<br /><br />While Leigh claims in <em><strong>The Making of Psycho</strong></em> that Hitchcock was very considerate of her, not all actor stories are so pleasant. The Master of Suspense is quoted as saying that the actual filming process was rather boring to him because he had already visualized how his movie would be before starting--making actors little more than pawns in his hands, especially if it was an actor that he didn&#39;t especially respect. Such was the case in <em><strong>Psycho</strong></em> with John Gavin. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> privately referred to him as &quot;the stiff&quot; and once conferred privately with Janet Leigh, asking her to do &quot;something&quot; to evoke passion from Gavin in the initial hotel bedroom scene.<br /><br /><strong>What Makes <a href="http://www.toxicuniverse.com/review.php?rid=10000726" style="color: black; cursor: default; text-decoration: none;">Psycho</a> Work So Well? </strong><br /><br /><em><strong>Psycho</strong></em> represents <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> hitting on all cylinders in his first true &quot;horror&quot; movie. It still resembles his classic suspense films like <strong><em>North by Northwest, Vertigo, Rear Window</em></strong>, and where a main character goes through her daily activities when before being swept into a suspenseful vortex of intrigue. Similarly, the &quot;villain&quot; is virtually indistinguishable from the &quot;good guys&quot; in this thriller, and identities continue to be obscurred. Just WHO is that woman buried in the cemetery?<br /><br /><em>Acting</em><br /><br />The acting, most notably with Anthony Perkins and Janet Leigh is outstanding. Perkins personifies Norman as a shy but charming young man who dutifully protects his sick old mother. He shows subtle inward signs of righteous anger when she is threatened by the Arbogast and Loomis characters, so he treads the fine line of engendering our sympathy and dreading the monster that he hides. For some of Leigh&#39;s best acting, just take a close look at her facial gestures as she is driving towards Fairview--we&#39;ve all felt her uneasiness when police are following behind, and we sense her alternating feelings of guilt and smug triumph as she drives. The fact that this is done silently or done with a voice-over is remarkable.<br /><br /><em>Plot structure, screenwriting, and music</em><br /><br />The whole plot concept is sheer genius. Begining in a cheap Phoenix hotel room during a stolen lunch break with some stolen time, Marion Crane and Sam Loomis want to get married but have no money. Back at work, she is seizes an easy opportunity to take off $40,000 to solve her financial problems, heading westward to join Sam, but stops at the Bates Motel. <br /><br />Talking with the shy motel proprietor, she discovers that he lives in a private trap and that she has just created a similar one for herself. Resolving to return to Phoenix to extract herself from her crime, Marion takes a baptismal shower. At this point film history is made with Hitchcock&#39;s dizzy ride of terror.<br /><br />Part of the genius of the script lies with foreshadowing references, most notably to the classic shower scene in the Bates Motel. Of course we begin with a hotel room shot after the camera pans over downtown Phoenix. During this initial conversation with Sam, Marion remarks &quot;We pay, too, who meet in cheap hotel rooms.&quot; Later on the road when the police officer wakes Marion up from her nap, he suggests to her that there are plenty of motels in the area and that she should pull into one, &quot;just to be safe.&quot; These all prepare us for a premature climax; at least for the first one.<br /><br />Screenwriter Stephano also works subtle motifs into the plot to bring out certain themes. Of course <em><strong>Psycho</strong></em> refers to a person who lives in multiple worlds and has a split personality. Even the screen credits foreshadow this concept. Reenforcing the concept are multiple mirrors found throughout the story. Nearly every scene uses mirrors--the rear view in Marion&#39;s car, the overhead shot in the car dealer restroom, the desk at the Bates Motel, and a whole series of mirrors that scares Lila in Mrs. Bates&#39; room.<br /><br />Another element that Stephano and <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> weave throughout <em><strong>Psycho</strong></em> is a &quot;bird&quot; motif. Marion herself is a &quot;bird,&quot; as her last name is Crane. Of course, British slang at the time refers to women as &quot;birds,&quot; fitting into the overall plot as well. Note the picture on the motel wall that falls to the floor when Norman discovers the shower room murder--a bird, naturally. Norman practices taxidermy and has a whole collection of birds. Thus, when he states that his mother &quot;is as harmless as one of these stuffed birds,&quot; this has deeper layers of meaning. Embellishing this bird motif even further is Bernard Herman&#39;s brilliant all-strings musical score--his shower room music resembles shrieking birds. Note where these sounds re-occur for additional pleasure.<br /><br /><em>Director control, Editing and Cinematography</em><br /><br />There is no question that this is a <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> film. It has his marks all over it with familiar visual references. We have the required blonde lady protagonists and we have the necessary voyeuristic references, most obviously with the opening shot peeking into the hotel room and later behind Norman&#39;s painting of &quot;The Rape of Lucretia.&quot; <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> remains a favorite among foreign audiences with his emphasis on the visual, so notice how little dialogue that he requires here. There is a typical Hitchcockian rhythm to the film, as dialogue scenes are followed by long stretches of scenes that are purely visual.<br /><br />With <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> the camera is all-important. In fact, he instructs his actors to follow where his camera is going because he already knows what his film is going to do for it to work. He doesn&#39;t need actors who are going to interfere with his artistic vision. So many times in <em><strong>Psycho</strong></em>, we are let in on Marion&#39;s inner turmoil. Notice how the camera silently communicates this as she first debates taking the money back at her Phoenix home. Of course, it is no accident that <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> has had Marion change into her black slip and bra as she contemplates the crime.<br /><br />Hitch meticulously selects his camera angles, types of shots, and framing throughout the film. There are numerous examples to cite, but one of note is the overhead shot of Arbogast climbing the steps towards Mrs. Bates room and the subsequent tracking shot. There are multiple reasons for these shots, which will be apparent after viewing <em><strong>Psycho</strong></em> and thoroughly contemplating the scene.<br /><br />Of course, there is the much studied shower scene to illustrate the illusionary effects of effective editing. <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> spent a solid week filming this crucial 45-second sequence. It begins rather slowly with cuts between Marion&#39;s profile and shots of the showerhead, and then the fun begins with rapid cuts that will make you swear that our heroine has been slashed to shreds. Watch closely and you will be able to tell that the butcher knife never does actually touch Marion&#39;s body. <br /><br />Never before has a murder like this been filmed so artistically. The rapid shower slashing accompanied with harsh violin strokes is terrifying even 40 years later. Watch the way <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitch</a>&#39;s camera transitions from the circling blood in the drain to Marion&#39;s lifeless eye. Suddenly the shocked audience sits without anyone to latch onto for the protagonist, so the camera slowly pans through the motel room, first reminding us of the now inconsequential $40,000, and then up to the Bates house where we hear Norman yelling &quot;O God, mother, blood!&quot; Far gorier scenes have been filmed in recent history. None leaves longer lasting impressions. <br /><br /><strong>The Denouement </strong><br /><br />Knowing about the shower scene beforehand doesn&#39;t cheapen the experience. Most of my high school students had only seen the <em><strong>Psycho</strong></em> sequels and knew only of that shower scene without the surrounding context, yet this venerable classic still works with a younger audience. A later scene always caused screams from many of the young ladies and provoked shocked expressions from many of the young men. Universally the students remarked about how <em><strong>Psycho</strong></em> was much better than the teen slashers that they had been watching.<br /><br />I am surprised that even the weakest scene in the movie--the oft-cited psychologist&#39;s overly detailed explanation--works with younger audiences, left confused by the complexity of the characters. The original <em><strong>Psycho</strong></em> remains unsurpassed and still works with modern audiences if they will overcome any prejudice they have against black and white films. No need for a remake without Anthony Perkins in the pivotal role! <br /><br /><a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> has tapped primal forces and fears here, fears that remain with us today. Which of us has ever contemplated whether we could get by with a crime, have done something that we felt guilty about, or felt uneasy when followed by a policeman. Hitch taps into our own guilt by making us a party to the murder--we voyeuristically peek in on the crime. We also only have to read a daily newspaper to hear about some random murder that can make us wonder if we could ever be a victim in such a horror scene. <br /><br />Fortunately, most of us will never have to face that reality. We can take the ultimate two-hour rollercoaster ride by watching <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a>&#39;s shocking masterpiece. The thing about <em><strong>Psycho</strong></em> that is different from most movies, is that the scenes continue to live on inside our memory long after the images have disappeared from the screen. That&#39;s what great movies do--they continue to live within.<br /><br />After all, we all go a little mad sometimes. <em><strong>Psycho</strong></em> allows us to experience the madness without fully jumping on board, and <a href="http://oldschoolreviews.com/directors/hitchcock.htm">Hitchcock</a> has introduced more people to abnormal psychology than anyone since Sigmund Freud.</span></p>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d40f0f2e7970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-11T03:03:18Ztag:api.typepad.com,2009:6a016304de4811970d017d40f0f2e5970cChildren of Men- The Long Takehttp://activitystrea.ms/schema/1.0/article2013-02-11T03:03:18Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<iframe frameborder="0" height="315" src="http://www.youtube.com/embed/EjNk-nxHjfM" width="420"></iframe>&#0160; <iframe frameborder="0" height="315" src="http://www.youtube.com/embed/EjNk-nxHjfM" width="420"></iframe>&#0160;tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36c264dc970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-11T03:01:43Ztag:api.typepad.com,2009:6a016304de4811970d017c36c264da970bCinematic Techniqueshttp://activitystrea.ms/schema/1.0/article2013-02-11T03:01:43Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<iframe frameborder="0" height="315" src="http://www.youtube.com/embed/O3EnnBDgMww" width="420"></iframe>&#0160; <iframe frameborder="0" height="315" src="http://www.youtube.com/embed/O3EnnBDgMww" width="420"></iframe>&#0160;tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017c36c260e1970b The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-11T02:58:24Ztag:api.typepad.com,2009:6a016304de4811970d017d40f032c7970cThe Todorov Narrative Theory within Bond « History of The Bond Franchisehttp://activitystrea.ms/schema/1.0/article2013-02-11T02:58:24Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<blockquote> <h1>The Todorov Narrative Theory within&#0160;Bond</h1> <p><span style="text-decoration: underline;">Todorov’s Narrative Theory </span></p> <p>Izetan Todorov was a Bulgarian structuralist linguist publishing influential work on narrative from the 1960’s. Todorov suggested that stories begin with an equilibrium or status quo where any potentially opposing forces are in balance. This is interrupted by a series of events; problems are solved so that order can be restored to the world of the fiction. Todorov claimed that conventional narratives are structured in five different stages.</p> <ul> <li>A state of equilibrium at the outset</li> <li>A disruption of the equilibrium by some action.</li> <li>A recognition that there has been a disruption.</li> <li>An attempt to repair the disruption</li> <li>A reinstatement of the equilibrium.</li> </ul> <div><img alt="" height="476" src="http://philomediahorror.files.wordpress.com/2011/11/screen-shot-2011-11-09-at-23-25-35.png?w=644&amp;h=476" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="630" /></div> <p>This type of narrative structure is very common to us and can be applied to many ‘mainstream’ film narratives including the James bond films.</p> <p>The Opening Sequence of James Bond ‘<em>Quantum of Solace’</em> follows Todorov’s theory as seen below</p> <ul> <li>The equilibrium in this opening sequence is the protagonist agent (James Bond) as he is the character that the viewer wants to succeed. The villain in the plot is the man chasing after Bond in an attempt to kill him.</li> <li>The disruption in this is the car chase between the two rivalling characters as the villain tries to kill James aggressively in this chase. There is continuous conflict shown between the two of them as they shoot each other in order to force each other to crash. This disruption hints that there will be numerous obstacles on the way causing the enemy to try and stop him from succeeding.</li> <li>At the beginning of the film, there is a moving establishing shot of the island to set the location and take the audience through the surroundings. At 0.56 and 0.59, there is an ECU of the actor Daniel Craig then a dark shadow casts over his face to show a sense mystery of this character. This use of minimal lighting is very effecting at representing the characteristics of the character. Also with the shot, idealises the determination and sorrow in his eyes, which is very effective.</li> <li>The whole clip is very fast-paced and at 1.41, there is a wide shot of all three cars which packs in all of the action so the audience gets front row seats of this action as it is all placed in front of them. At 4.07, there is a high angle shot of the villain tied up in the trunk of James’ car. The effect this has is by showing the difference in power with the protagonist standing over the villain and the camera looking down on him makes him seem vulnerable and weak in comparison to the very strong, calm and collected Bond.</li> <li>The use of having the protagonist in a formal and expensive suit carries out the tradition conventions of his persona within the Bond films. The Aston Martin DBS acts as the props in the clip as it provides action and represents wealth and class.</li> <li>The Resolution is when the character the viewer wants to succeed (James Bond) shoots down and counteracts the other car and villains causing a collusion from a cliff killing the villain and manages to get the other villain tied up. However, the typical conventions of a hero always seem to get out alive and unharmed.</li> <li>From this opening sequence, it is obvious that there will be a lot of disruption throughout the film, as the main character seems to have made many enemies and conveys that it is falls under the action film genre.</li> <li>All of the James Bond films follow Todorov’s theory as they have the agent an</li> </ul> </blockquote> <p><small>via <a href="http://dtugby10.wordpress.com/the-todorov-narrative-theory-within-bond/">dtugby10.wordpress.com</a></small></p> <blockquote> <h1>The Todorov Narrative Theory within&#0160;Bond</h1> <p><span style="text-decoration: underline;">Todorov’s Narrative Theory </span></p> <p>Izetan Todorov was a Bulgarian structuralist linguist publishing influential work on narrative from the 1960’s. Todorov suggested that stories begin with an equilibrium or status quo where any potentially opposing forces are in balance. This is interrupted by a series of events; problems are solved so that order can be restored to the world of the fiction. Todorov claimed that conventional narratives are structured in five different stages.</p> <ul> <li>A state of equilibrium at the outset</li> <li>A disruption of the equilibrium by some action.</li> <li>A recognition that there has been a disruption.</li> <li>An attempt to repair the disruption</li> <li>A reinstatement of the equilibrium.</li> </ul> <div><img alt="" height="476" src="http://philomediahorror.files.wordpress.com/2011/11/screen-shot-2011-11-09-at-23-25-35.png?w=644&amp;h=476" style="padding-bottom: 8px; padding-right: 8px; padding-top: 8px;" width="630" /></div> <p>This type of narrative structure is very common to us and can be applied to many ‘mainstream’ film narratives including the James bond films.</p> <p>The Opening Sequence of James Bond ‘<em>Quantum of Solace’</em> follows Todorov’s theory as seen below</p> <ul> <li>The equilibrium in this opening sequence is the protagonist agent (James Bond) as he is the character that the viewer wants to succeed. The villain in the plot is the man chasing after Bond in an attempt to kill him.</li> <li>The disruption in this is the car chase between the two rivalling characters as the villain tries to kill James aggressively in this chase. There is continuous conflict shown between the two of them as they shoot each other in order to force each other to crash. This disruption hints that there will be numerous obstacles on the way causing the enemy to try and stop him from succeeding.</li> <li>At the beginning of the film, there is a moving establishing shot of the island to set the location and take the audience through the surroundings. At 0.56 and 0.59, there is an ECU of the actor Daniel Craig then a dark shadow casts over his face to show a sense mystery of this character. This use of minimal lighting is very effecting at representing the characteristics of the character. Also with the shot, idealises the determination and sorrow in his eyes, which is very effective.</li> <li>The whole clip is very fast-paced and at 1.41, there is a wide shot of all three cars which packs in all of the action so the audience gets front row seats of this action as it is all placed in front of them. At 4.07, there is a high angle shot of the villain tied up in the trunk of James’ car. The effect this has is by showing the difference in power with the protagonist standing over the villain and the camera looking down on him makes him seem vulnerable and weak in comparison to the very strong, calm and collected Bond.</li> <li>The use of having the protagonist in a formal and expensive suit carries out the tradition conventions of his persona within the Bond films. The Aston Martin DBS acts as the props in the clip as it provides action and represents wealth and class.</li> <li>The Resolution is when the character the viewer wants to succeed (James Bond) shoots down and counteracts the other car and villains causing a collusion from a cliff killing the villain and manages to get the other villain tied up. However, the typical conventions of a hero always seem to get out alive and unharmed.</li> <li>From this opening sequence, it is obvious that there will be a lot of disruption throughout the film, as the main character seems to have made many enemies and conveys that it is falls under the action film genre.</li> <li>All of the James Bond films follow Todorov’s theory as they have the agent an</li> </ul> </blockquote> <p><small>via <a href="http://dtugby10.wordpress.com/the-todorov-narrative-theory-within-bond/">dtugby10.wordpress.com</a></small></p>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collectiontag:api.typepad.com,2009:6e016304de4811970d017d40f0871d970c The Time Travellers Purse posted an entry http://activitystrea.ms/schema/1.0/post2013-02-11T01:10:26Ztag:api.typepad.com,2009:6a016304de4811970d017ee86543aa970dHitchcock’s Symphony: “PSYCHO” A Shot-by-Shot Commentary « The Cinephile Fixhttp://activitystrea.ms/schema/1.0/article2013-02-11T01:10:26Ztag:api.typepad.com,2009:6p016304de4811970dThe Time Travellers Pursehttp://profile.typepad.com/naomipelletier<blockquote> <p class="post-date" title="June 17, 2010 at 5:21 pm"><span class="date-day">&#0160;</span></p> <h2 class="entry-title">Hitchcock’s Symphony: “PSYCHO” A Shot-by-Shot&#0160;Commentary</h2> <p class="metadata">Posted June 17, 2010 by Wael Khairy in <a href="http://cinephilefix.wordpress.com/category/film-analysis/" rel="category tag" title="View all posts in Film Analysis">Film Analysis</a>, <a href="http://cinephilefix.wordpress.com/category/film-theory/" rel="category tag" title="View all posts in Film Theory">Film Theory</a>. <span class="feedback"><a href="http://cinephilefix.wordpress.com/2010/06/17/hitchcocks-symphony-psycho-a-shot-by-shot-commentary/#comments" title="Comment on Hitchcock’s Symphony: “PSYCHO” A Shot-by-Shot&#0160;Commentary">27 Comments</a></span></p> <div class="entry"> <p><a href="http://cinephilefix.files.wordpress.com/2010/06/5608_menu9.jpg"><img alt="" class="aligncenter size-full wp-image-336" src="http://cinephilefix.files.wordpress.com/2010/06/5608_menu9.jpg?w=570" title="PSYCHO" /></a></p> <p>It’s quite easy for someone to enjoy film. Loving film is completely different. For those who see film enjoy them, yet only those who can read film truly love it and understand it as an art form. Hitchcock is probably the most well known director of all time. There is no absolute answer to what his crowning achievement is. A lot of critics prefer “Vertigo”. Taste varies from one film lover to the other. “North by Northwest”, “Notorious”, “Vertigo”, “Rear Window”, “The Birds”, “Shadow of a Doubt”, “Strangers on a Train”, “Rebecca”, “Suspicion”, “The 39 Steps” and “Psycho” are among his most loved. The truth is there is no such thing as one ultimate Hitchcock masterpiece, there are only favorites.</p> <p>Every month or so, I tend to invite a close group of film professors, directors, editors, writers, and critics to my living room. We watch some of the greatest films together. The screenings always end with insightful conversations, debates and arguments. We cite critics like Roger Ebert, Pauline Kael, and Robin Wood to back up our claims but to what end? Cinephiles tend to be stubborn. It’s almost impossible to convince a real lover of film that this scene is better than that one or this director is more talented than the other, etc. &#0160;At the end, all you get is a fueled argument that does not lead to any absolute conclusion. I learn a great deal about film at these gatherings. During the past few weeks we watched about fifteen Hitchcock films. We studied them shot for shot. After the last screening, I asked the room full of film lovers about their favorite Alfred Hitchcock film. All of the above as well as others were mentioned and the room went into complete utter silence. “How strange” said a senior professor. “For the first time we’re not arguing with one another”.</p> <p>Such is the case with the greatest of artists. We all have our favorite Shakespeare play or Mozart symphony. There is no need to argue for them and against the rest, for all are truly great in their own right. Hitchcock fans don’t dispute one another; they simply nod in respect, for unlike lesser directors, he doesn’t have one obvious masterpiece but an entire body of them.&#0160; My favorite Hitchcock is “Psycho”. However, I respect almost all of his films equally. To me watching “Psycho” is like listening to the best of Mozart or Beethoven. The way Hitchcock uses the conventions of films is beyond words. Don’t expect to feel that way from one viewing. The first time I saw “Psycho”, all I could see was a horror film with a great twist and wonderful performances. I watched it a second time in my first film class, another time in a different film class, and several times after that. Today, I lost count of how many times I watched it, and how many times I studied it (there’s a difference). <small>via <a href="http://cinephilefix.wordpress.com/2010/06/17/hitchcocks-symphony-psycho-a-shot-by-shot-commentary/">cinephilefix.wordpress.com</a></small></p> </div> </blockquote> <blockquote> <p class="post-date" title="June 17, 2010 at 5:21 pm"><span class="date-day">&#0160;</span></p> <h2 class="entry-title">Hitchcock’s Symphony: “PSYCHO” A Shot-by-Shot&#0160;Commentary</h2> <p class="metadata">Posted June 17, 2010 by Wael Khairy in <a href="http://cinephilefix.wordpress.com/category/film-analysis/" rel="category tag" title="View all posts in Film Analysis">Film Analysis</a>, <a href="http://cinephilefix.wordpress.com/category/film-theory/" rel="category tag" title="View all posts in Film Theory">Film Theory</a>. <span class="feedback"><a href="http://cinephilefix.wordpress.com/2010/06/17/hitchcocks-symphony-psycho-a-shot-by-shot-commentary/#comments" title="Comment on Hitchcock’s Symphony: “PSYCHO” A Shot-by-Shot&#0160;Commentary">27 Comments</a></span></p> <div class="entry"> <p><a href="http://cinephilefix.files.wordpress.com/2010/06/5608_menu9.jpg"><img alt="" class="aligncenter size-full wp-image-336" src="http://cinephilefix.files.wordpress.com/2010/06/5608_menu9.jpg?w=570" title="PSYCHO" /></a></p> <p>It’s quite easy for someone to enjoy film. Loving film is completely different. For those who see film enjoy them, yet only those who can read film truly love it and understand it as an art form. Hitchcock is probably the most well known director of all time. There is no absolute answer to what his crowning achievement is. A lot of critics prefer “Vertigo”. Taste varies from one film lover to the other. “North by Northwest”, “Notorious”, “Vertigo”, “Rear Window”, “The Birds”, “Shadow of a Doubt”, “Strangers on a Train”, “Rebecca”, “Suspicion”, “The 39 Steps” and “Psycho” are among his most loved. The truth is there is no such thing as one ultimate Hitchcock masterpiece, there are only favorites.</p> <p>Every month or so, I tend to invite a close group of film professors, directors, editors, writers, and critics to my living room. We watch some of the greatest films together. The screenings always end with insightful conversations, debates and arguments. We cite critics like Roger Ebert, Pauline Kael, and Robin Wood to back up our claims but to what end? Cinephiles tend to be stubborn. It’s almost impossible to convince a real lover of film that this scene is better than that one or this director is more talented than the other, etc. &#0160;At the end, all you get is a fueled argument that does not lead to any absolute conclusion. I learn a great deal about film at these gatherings. During the past few weeks we watched about fifteen Hitchcock films. We studied them shot for shot. After the last screening, I asked the room full of film lovers about their favorite Alfred Hitchcock film. All of the above as well as others were mentioned and the room went into complete utter silence. “How strange” said a senior professor. “For the first time we’re not arguing with one another”.</p> <p>Such is the case with the greatest of artists. We all have our favorite Shakespeare play or Mozart symphony. There is no need to argue for them and against the rest, for all are truly great in their own right. Hitchcock fans don’t dispute one another; they simply nod in respect, for unlike lesser directors, he doesn’t have one obvious masterpiece but an entire body of them.&#0160; My favorite Hitchcock is “Psycho”. However, I respect almost all of his films equally. To me watching “Psycho” is like listening to the best of Mozart or Beethoven. The way Hitchcock uses the conventions of films is beyond words. Don’t expect to feel that way from one viewing. The first time I saw “Psycho”, all I could see was a horror film with a great twist and wonderful performances. I watched it a second time in my first film class, another time in a different film class, and several times after that. Today, I lost count of how many times I watched it, and how many times I studied it (there’s a difference). <small>via <a href="http://cinephilefix.wordpress.com/2010/06/17/hitchcocks-symphony-psycho-a-shot-by-shot-commentary/">cinephilefix.wordpress.com</a></small></p> </div> </blockquote>tag:api.typepad.com,2009:6a016304de4811970d01761710baff970cFilm Fileshttp://activitystrea.ms/schema/1.0/collection